Shostakovich in movement two, The 9th of January: Allegro, will, to use Shakespeare’s timely phrase, “Cry havoc!” and lets loose the dogs of war. 11 – London Philharmonic Orchestra/ Vladimir Jurowski – London Philharmonic, by Audiophile Audition | Nov 28, 2020 | Classical CD Reviews | 0 comments. Both Nelsons and Storgårds add almost 4 minutes to Petrenko’s overly quick reading (13’46”), using the extra time to create a more foreboding atmosphere. Revolution On the morning of Sunday 9th January 1905, thousands of Russians gathered in front of the Winter Palace in St Petersburg. Shostakovich: Symphony No. Reviewed in the United States on May 4, 2016 One would be hard-pressed to find a nation that was so adverse to artistic freedom as Russia under the yoke of totalitarians like Lenin, Stalin, Khrushchev, and others and yet at the same also produced some of the greatest works of art in the 20th century. Is it propaganda? Today’s talents will be tomorrow’s legends. Both performances feature exceptional playing and flowing tempos (Petrenko 57’37” and Nelsons 62’39”) that give the work a coherent symphonic structure. All rights reserved. 11- The Year 1905 Dmitri Shostakovich (Composer), Vasily Petrenko (Conductor), Royal Liverpool Philharmonic Orchestra (Orchestra) 1 – Moog, Deutsche Radio Philharmonie, Milton, Review: Britten – Saint Nicolas, A Ceremony of Carols – BBC Concert Orchestra, Crouch End Festival Chorus, Temple, Read of the latest news in classical music, Looking for the best version of a classical music piece? No part of this publication may be reproduced, distributed, or transmitted in any form or by any means. AUDIOPHILE AUDITION is a free international online magazine for audio buffs, record collectors and music lovers. Some listeners might sense a drop in intensity after the climax, but the characterful playing of the BBC winds propel the music towards its next climax at 7’25” (the trombones particularly prominent). Jurowski’s live performance is 14 minutes shorter overall than Rostropovich’s with the LSO back in 2002. Deutsche Gramophone successfully creates a wide soundstage without a corresponding sense of width (front to back perspective). Aided by resplendent, indeed, cinematic Chandos sound, the January 22, 1905 events at the winter palace (known as Bloody Sunday) are vividly brought to life. 11 in G minor, Op. 2, 7 & 8 – Pavel Haas Quartet, Review: Bartók – Concerto for Orchestra, Suite No. His wife died in 1954, leaving him a single parent of two teenagers. Shostakovich: Symphony No. 11, In The Year 1905. Stream songs including "Symphony No. A priest led a huge … 2 & 21 – Mirga Gražinytė-Tyla, Review: Vikingur Ólafsson Plays Rameau and Debussy, Review: Monteverdi – il terzo libro de’ madrigali – Alessandrini, Review: “Dear Mademoiselle” – Astrig Siranossian, Cello, Review: Saint-Saëns – Chamber Works – Chamayou, Capuçon, Moreau, Review: “Penderecki’s Sinfonietta(s)” – Sinfonietta Cracovia, Jurek Dybał, Review: Brahms – Piano Concerto No. It covers new album reviews by knowledgeable and independent writers, as well as in-depth guides and news. 11 is one of Shostakovich’s less multi-dimensional symphonies, the range of interpretations it has yielded is surprising. The Chicago Symphony Orchestra’s first subscription concert performances of Shostakovich’s Eleventh Symphony were given at Orchestra Hall on January 19 and 20, 1961, with André Cluytens conducting. 11 (“The Year 1905”)BBC PhilharmonicJohn Storgårds – ConductorChandos Records, Hybrid SACD CHSA 5278, Read more classical music reviews or visit The Classic Review Amazon store. 11, 'The Year 1905' (Proms 2013) 103 'The year 1905' WDR Sinfonieorchester Koln, Semyon Bychkov The performance from the WDR Symphony Orchestra is compelling at both ends of the dynamic spectrum, from the heart-rending funereal tread of the opening paragraph of 'In Memoriam' to the savage... — BBC Music Magazine, July 2006, More… The Chandos soundstage has both, and that adds a glow and warmth to the orchestra that is lacking in the DG recording. 11 . At first, a sense of peace and possible reconciliation with the powers of government sings out fervently, only to be engulfed by dissonant, destructive forces in the side-drum, diviso strings in canon, blaring brass, tympani and cymbals, and whirling woodwinds, a phantasma of murder and madness. On that fateful day, the Tsar’s palace guards gunned down 200 unarmed demonstrators – a procession of workers led by Orthodox priest George Gapon to deliver a petition to the Tsar – outside of St. Petersburg’s Winter Palace. Was Shostakovich finally giving in to the authorities? 11 “The Year 1905” ... Shostakovich was named "People's Artist of the USSR" in 1954 and was awarded the Order of Lenin, the USSR's highest decoration, on his 50th birthday in 1956. SHOSTAKOVICH: Symphony No. The liner notes all suggest a theme of defiance in the final movement, and the headlong rush of the Petrenko and Nelsons performances make that defiance seem almost machinelike and bloodless. This is one of the most distinguished work of Shostakovich, and tells about "1905 Revolution" (09.01.1905). Yet Storgårds’ sure control of the line makes it work. The spirit of revolution is infused into the fabric of Shostakovich's 11th Symphony, from its opening notes to its final closing breaths. 11 recalled the events of series of worker strikes in St. Petersburg, Russia, that crippled the city. Shostakovich: Symphony no 11 / Stokowski, Houston SO Release Date: 03/15/1994 Label: Warner Classics Catalog #: 65206 Spars Code: ADD Composer: Dmitri Shostakovich Conductor: Leopold Stokowski Orchestra/Ensemble: Houston Symphony Orchestra Number of Discs: 1 Recorded in: Stereo Length: 1 Hours 3 Mins. Both Petrenko and Nelsons play the second movement in less than 19 minutes, whereas Storgårds takes a little over 21 minutes. By movement’s end, the woodwinds seem to be bleating like sheep, while the tympany beats out a militant tattoo of inevitability. Listeners now have the luxury of three outstanding recordings of this once undervalued work – highly recommended, and let’s hope it we get more Shostakovich from these forces. Nelsons is particularly strong in this movement, and the Boston Symphony playing is astounding – if there is a reason to prefer the Storgårds performance, it is the superior Chandos sound, which makes the climax that begins at 7’45” overwhelming in its impact. The Symphony No. Shostakovich: Symphony No. 5 – Oslo Philharmonic, Petrenko, Editor’s Choice: The Best New Classical Music Albums, January 2021, Review: Shostakovich – String Quartets No. Shostakovich casts his four movements as a psychological and physical, theatrical continuum that will depict the progression from icy stillness to active horror. I own three other others, including two featuring Shostakovich's friend Rostropovich. Notify me of follow-up comments by email. Given that No. Jurowski builds this grueling movement slowly to a fierce climax in tympani, anguished strings, and brass, rife with a vengeful aspect that must have burned in the hearts of a wounded populace. Get our periodic classical music newsletter with our recent reviews, news and beginners guides. The grim, plucked notes return as the music subsides into the original lachrymosa. Symphony No. Each painting in the series is based on a particular symphony or quartet by the Russian composer Dmitri Shostakovich, whom Williams regarded as "the greatest composer of [his] time". By contrast, his Eleventh, which followed four years later frequently gets a bad press, because it is perceived to be too programmatic, repetitive and populist. For his third movement, Eternal Memory: Adagio, Shostakovich intones the song of the period, “You fell as victims,” a direct elegy or requiem first enunciated in the muted violas. The Classic Review was launched in 2018 for classical music lovers around the globe. At last, the people proceed to march, The Tocsin movement, with the brass having incited an alarm. 1 – Dausgaard, Review: Weinberg – Symphony No. We might wonder if shades of Liszt’s Mazeppa infiltrate the action. The Classic Review was launched in 2018 for classical music lovers around the globe. Former Music Director Leopold Stokowski conducts the Houston Symphony in the first-ever commercial recording of Shostakovich’s Symphony No. Listen to the biting exchange between brass and lower strings at 2’10”, which then builds to a tremendous climax at 2’36”. Where is the emotional depth we hear in the Fifth, Eighth and Tenth Symphonies? Copyright ©2018 Audiophile Audition. 11 Dmitri Shostakovich (Composer), Leopold Stokowski (Conductor), Houston Symphony Orchestra (Orchestra) 11 by Oleg Caetani & Orchestra Sinfonica di Milano Giuseppe Verdi on Apple Music. 11 (The Year 1905) Vladimir Jurowski conductor London Philharmonic Orchestra Pieter Schoeman leader. Shostakovich's Symphony No 11 is a remarkable piece with a powerful statement and it's brilliantly orchestrated by the BBC Philharmonic. The third movement, “Eternal Memory,” benefits again from a slightly slower tempo and the greater flexibility of line that Storgårds allows himself. Conlon, music director of the Los Angeles Opera, was about to lead the New World Symphony in Shostakovich’s Symphony No. Shostakovich’s eleventh symphony has long divided musicologists, who debate its worth. All Rights Reserved. Email to friends Share on Facebook - opens in a new window or tab Share on Twitter - opens in a new window or tab Share on Pinterest - opens in a new window or tab In comparison, Rostropovich’s last recording with the London Symphony Orchestra, widely acclaimed at the time of its release, seems episodic and disjointed at 72’24”, while the recorded sound (recorded live at London’s Barbican) is disappointing. Storgårds somehow engenders a more human and optimistic feeling, and the clanging bells are thrillingly caught (the conductor uses four church bells rather than the standard orchestral tubular bells). Shostakovich’s eleventh symphony has long divided musicologists, who debate its worth. The pertinent questions with Shostakovich's Eleventh, however, are not "how impressive is the performance" and "how imposing is the recording," but "how honest is the performance" and "how real is the recording?" We can hear the Eleventh Symphony simply as a straightforward homage to the heroes and martyrs of the 1905 Revolution, as Shostakovich suggested. 103 ("The Year 1905"). He wanted it to reflect, if not copy, “the Russian revolutionary songs” of the era, the time of the first popular uprising against tsarist tyranny. 103: II. The orchestral playing is vividly intense, the trombone glissandos (13’55”) snarling out the rage of the protestors, leading into a shattering climax as the soldiers slaughter them. Shostakovich: Symphony No. 11 in G minor (Opus 103; subtitled The Year 1905) by Dmitri Shostakovich was written in 1957 to mark the fourtieth anniversary of the Russian Revolution of 1905... - oops, that's 52 years, isn't it?Obviously, the work was written for the fourtieth anniversary of the Russian Revolution of 1917, but deals with the events from the Russian Revolution of 1905. Please Subscribe to our New channel @PAINTED. Read our Best Of guides for classical music. Shostakovich – Symphony No. Shostakovich: Symphony no 11 'The Year 1905' / Petrenko, Royal Liverpool PO Richter in Recital - Haydn, Debussy, Prokofiev Gabriela Montero Plays Chopin, Falla, Ginastera, Granados, Liszt, Rachmaninov, Scriabin - Includes Bonus Improvisations Disc / Gabriela Montero, piano The epic violence breaks off to leave us a winter scene, a kind of delicate silhouette of the opening, now beset by ghosts. Shostakovich Symphony No. The live performance from Southbank Centre’s Royal Festival Hall, London (11 December 2019) captures in Palace Square: Adagio the ominous, the lingering dread of the calm prior to the storm, haunted strings and distant, muted brass fanfares, flute and side-drum, intrusive tympanic beats under a pastoral song. Shostakovich enshrined the events of “Bloody Sunday,” 9 January 1905, in a programmatic symphony equally the musical counterpart of Sergei Eisenstein’s 1925 film Battleship Potemkin. That the premier in 1957 coincided with Russian suppression of Hungarian patriots in October and November 1956, intensified the composer’s implied message that Soviet brutality and atrocity – Soviet troops took 2000 Hungarian lives – could engender a similar resistance to oppression. A solid performance to add to some illustrious readings, by Mravinsky, Stokowski, and recently, Petrenko. 11 ostensibly was written to commemorate the tragic events of January 9, 1905, when several hundred of about 10,000 demonstrators at the Tsar's St. Petersburg winter palace were killed on orders from government officials.The slaughter incited further demonstrations and anti-Tsarist activities, culminating in the 1917 Bolshevik Revolution. This symphony required a large orchestra (ex. The percussion invokes recollections of the opening movement, augmented in color by the English horn. Listen to Shostakovich: Symphony No. Shostakovich worked on his 11th Symphony during the summer of 1956, meaning to celebrate the 50 th anniversary of the Revolution of 1905. 5.0 out of 5 stars Shostakovich 11 In D.C. 11 in G minor, Op. Shostakovich's Symphony No. Shostakovich: Symphony No. Even as his professional fortunes rose, his personal life was tragic and confused. But has the catastrophe truly passed, or does the future bode another evil? 11 The Year 1905. Shostakovich utilizes a constant shift of major and minor to add an undercurrent ambivalence as to the effectiveness of any “triumph.” Jurowski elicits mighty tuttis that broil up from the LPO, especially as tolling bells on G in both major and minor thirds leave the Russian soul devastated of any faith in the “divine right” of monarchs. By David … It covers classical music reviews, as well as in-depth guides and classical music news. (adsbygoogle = window.adsbygoogle || []).push({}); Is it movie music without a movie? Shostakovich’s Tenth Symphony, written in the aftermath of the death of Stalin is widely regarded as his greatest orchestral work, and a masterpiece of the twentieth century. It is a close knot thing in the final movement – all three performances offer compelling readings, though Nelsons’ deliberate opening tempo is unconvincing. We who know our Eisenstein recall his vivid recreation of the Odessa Steps. Storgårds’ tempos fall somewhere in the middle (66’43”), yet the music never feels slow, and the musical argument rarely falters. 103: I. Adagio (The Palace Square)", "Symphony No. His opening movement features intensely beautiful string playing, dynamics at pianissimo for most of its duration. 11 – London Philharmonic Orchestra/ Vladimir Jurowski – London Philharmonic, Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window). The music then winds down to a more static, icier passage, the exchanges between snare drum and plucked strings mechanic and emotionless. This is a marvelous recording of Shostakovich's 11th symphony. Your email address will not be published. From the start, critical opinion has been split on Shostakovich's Symphony No. Shostakovich worked on his 11th Symphony during the summer of 1956, meaning to celebrate the 50th anniversary of the Revolution of 1905. The high flute adds a sense of mania to the convulsive drama, which has quite assumed the character of a film score. . Review: “labyrinth” – David Greilsammer, Piano, Review: Hammerschmidt – “Ach Jesus Stirbt” – Vox Luminis, Meunier, Review: Prokofiev – Symphony No. Mark’s notes on Shostakovich Symphony No. 12, subtitled “The Year 1917.” The 1961 work is often considered the composer’s weakest symphony, its poor reputation stemming partly from its submission to the demands of Soviet propaganda. However, we can also experience the music as a commentary on the Soviets’ brutal suppression of the Hungarian uprising of 1956, which was taking place as Shostakovich composed the Eleventh Symphony. Is it of a piece with the cinematic potboilers Shostakovich wrote to get himself back into the good graces of the Soviet government after his denunciation by Stalin's cultural henchmen? The next build-up begins at 11’59” as the snare drum suggests gunfire while the strings begin one of those unrelenting marches that so often feature in Shostakovich’s symphonic writing. He wanted it to reflect, if not copy, “the Russian revolutionary songs” of the era, the time of the first popular uprising against tsarist tyranny. These questions have, to some extent, been answered in the last 12 years by two recordings that mined a heretofore undiscovered profundity from the score: The Royal Liverpool Philharmonic led by Vasily Petrenko on Naxos, and the Boston Symphony Orchestra led by Andris Nelsons, part of their ongoing cycle for DG. Our most recent subscription concert performances were given on June 11 and 12, 1999, with Mstislav Rostropovich conducting. 11 In G Minor, Op. 11 In G Minor, Op. Shostakovich's Symphony No. Home » Classical CD Reviews » SHOSTAKOVICH: Symphony No. Here Petrenko’s faster tempo (13’44”) intensifies the inhumanity of it all, but the scene is still powerfully affecting in Storgårds’ reading. Allegro (The 9th of January)" and more. In the symphony these historical aspects come to light through the movement titles ('The Palace Square' etc) and in Shostakovich's use of several revolutionary songs throughout it. 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