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(Please wrap words like "banal" and "lightweight" in a trigger warning to respect and protect the well-being of others.)
These imho are the two must-haves. Berglund absolutely nails the 11th--desolation, darkness and grittiness-- and the recording is stunning. People love to hate it but hey, more LPs for me! The Stokowski re-awakened my interest in the Fifth, it's by far the most evocative, colorful interpretations I know, far more interesting (and far better recorded) than the Bernstein.
The piano concerti prove that Shosty could write a beautiful melody (2nd movt of the 2nd), or turn a heart-stoppingly beautiful phrase, (central section of the 1st). If the 1st Violin Concerto doesn't impress, for both its depth and heart, I'd like to know why.
Not all Bernstein "classics" impress me but his Shosty 7th is extrememly satisfying and well-recorded for Columbia. The final pages are taken broadly which is the way I prefer. The Solti 8th was my first exposure to the work. Listened to it again recently...it's too slick and controlled. For me, Shosty's music doesn't work when performed from behind museum glass, even when it's the magnificent CSO behind the glass. Mravinsky's from '41 (?) shows us how to properly let loose but the recording is barely serviceable. Man, the 4th! I imprinted on Jarvi's Chandos recording. Above is Kondrashin's. The first movt's fugue, (heck, the whole 1st movt) stuns me every time, though IMHO the rest of the symphony doesn't measure up.Karajan's 10th is a classic, from the 60s. I don't understand why anyone would have a problem with the 1st Symphony. The melody in the 3rd movt is glorious, the orchestral colors fascinating throughout, the proprtions perfect. Ancerl gets the dark comedy perfectly, and those Czech winds! And what's wrong with the 12th? I like the ending. : )
Edits: 08/21/16Follow Ups:
Here are three of my favorite recordings (see photos) that I have been listening to lately. Violin and Viola sonatas. All great performances. I just wish we had some reissues that had dead silence surfaces on the LPs. Otherwise, sonics are very good.
Of course, there are the 3 sets of quartets that I have on LP (Tanayev, Borodin & Fitzwilliam). Tanayev SQ is certainly "most Russian", as Tom B. would say. I agree.
I listened to Sym. 5 last night with Mravinsky, after a long time away. Despite the audience coughing (mostly not too loud), wow -- what a performance!!!
The shrillness of the strings and brass were very suited to this music, in a way that Bernstein, Sanderling, Petrenko and others do not match.
jdaniel-
are any of these titles avail on CD or SACD?
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I have his recordings of the 6th and the 11th, and Stokie has a way of making Shostakovich make sense to me in a way that other conductors don't.
Have this on vinyl but haven't listened to it in a while-will have to put it on and revisit.
Mark in NC
"The thought that life could be better is woven indelibly into our hearts and our brains" -Paul Simon
Highlights for me, the delightfully vivid violin solo in 2nd movt, last pages of third, (have those lonely harp harmonics and celesta ever sounded so...lonely?), and the very Mahlerian take on the Finale. Unusually beautiful horn solo as well.
Generally speaking, the recording really captures the solo and concertante instrumental passages in a way that makes you fall in love with yiur system all over again. Even the bassoon sound is delectable. So woody!
and it is a pretty good rendition. I had forgotten just how fast he takes the ending, and strangely enough, that seems to put across the sarcasm that DDS (I believe) intended as effectively as the pulled-back endings. It's the moderately fast endings that don't seem to "get it"; I truly believe that Shostakovich was being polite when he affirmed Bernstein's 1959 performance. I imprinted on the early '80's Haitink/RCO in 1983 (my first Shostakovich recording) but it's rather different than the Stokie- gorgeous, silky recorded sound, though.
By the way, JD, do you follow the DSCH Journal Facebook page? Many great photos and news, and the Journal website has gobs of reviews.
Mark in NC
"The thought that life could be better is woven indelibly into our hearts and our brains" -Paul Simon
When I saw your pic of Solti's 8th, I was afraid you were going to praise it, but you rightfully put it in its place. I imprinted on Andre Previn's EMI recording of the 8th with the LSO from the early 70's, which still holds up today. Searing interpretation, and it has that stunning sound quality that made British-pressed EMI LPs so sought-after at the time.
Russell
Solti really dawdles and micromanages the 1st movt to death, and sadly, I've fallen out of love with the 80s CSO brass sound. Too clean and accurate.
Seems he thrived on the hardship and opposition. And those who would trash his reputation here only succeed in making him seem more interesting than ever.
Edits: 08/21/16
OK, I'll take advantage of the Chrisless thread. But, a friendly warning: Amphissa had made no promise of silence.
for us, kind of like for DDS (and many, many others) when Stalin died ;) Very much agree regarding the Seventh- it IS overblown and banal if not paced just so, and this is where Bernstein does get this exactly right, IMO. For some inexplicable reason, I've not heard Mravinsky's (have most of his others) but imagine that it's similar in many ways.
One thing about Shostakovich, particularly, is that his music is part and parcel with his life story, which to a great extent paralleled the traumatic history of the Soviet Union, I believe. Sure, his music can be enjoyed in a vacuum, but knowing the backstory greatly increases one's appreciation for his work, more so than most composers. So, yes, listeners SHOULD "read the book"- I don't think it's unfair to have to meet a composer halfway to get a great deal more out of his work. Most valuable things in life aren't spoon-fed to us.
Mark in NC
"The thought that life could be better is woven indelibly into our hearts and our brains" -Paul Simon
It never ceases to amaze how an interpretation can change a long held view of a piece. I disliked the 7th with a passion with that Bolero-like first movement which is as boring as Ravel's effort, which is saying something. Then I heard the gripping recording from Mravinsky who turns that banal theme into something of dread and menace.
Is wonderful. A masterpiece.
I was fortunate to hear it in concert - CSO under Ermler.
Severius! Supremus Invictus
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