Shostakovich - Symphonies n.2,3 & 4 - Rozhdestvensky

Dmitri Shostakovich
Symphony n.2 Op.14 "Dedication to October"
Symphony n.3 Op.20 "The First of May"
Symphony n.4 Op.43
Hamlet Suite Op.32
Ouverture to "Poor Columbus" Op.23


USSR Ministry of Culture Symphony Orchestra (Symphonies)
Moscow Philarmonic Orchestra (Hamlet Suite)
Leningrad Philarmonic Orchestra (Poor Columbus)
dir. Gennady Rozhdestvensky

Melodiya Twofer 74321 63462 2


Here presented are three early symphonies of Shostakovich, together with some of the lighter music for theatrical plays and opera.
Starting with the [rarely heard] second and third symphonies (commemorating the October Revolution and The First of May) both in one movement, including choral sections and more thematic-based, to the powerful fourth (following shortly the banning in a Pravda article in 1936), with its much more pessimistic vision, brief motifs, fragmentary ideas, and looking back to Mahler in the handling of the musical materials and orchestration.

The authoritative and  precise view of Rozhdestvensky's direction (he premiered some of his symphonies in the UK) and his skill in catching the many mood's changes of these works is a guarantee  for the listener.
Enjoy!


[Flacs and Cover only, sorry but my scanner is out]

Shostakovich: Symphonies Nos. 5&9 - Kreizberg, Russian National Orchestra

Dmitrij Shostakovich
Symphonies Nos. 5&9
Russian National Orchestra, Yakov Kreizberg
PentaTone- 5186 096(SACD)

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Shostakovich's 5th is probably the first work of the 20th century I ever fell in love with (after what still is the most memorable concert of my life, conducted by Kreizberg's brother, Semen Bychkov).

Classics Today Rating: 10/10
Kreizberg, like Sanderling, is absolutely convinced that the finale does not represent a "happy" ending. After an impressively portentous opening and a brooding central interlude, he grinds out the coda with as much relentless menace as the music can take, and then some. By the time the movement heaves its lacerated carcass through the final bars, the cessation of sound comes as a positive relief. Throughout, the Russian National Orchestra plays with 100 percent conviction, and PentaTone's sonics, whether in stereo or SACD surround, are extremely natural and well-balanced.

What makes this disc even more special is the fact that the Ninth Symphony is every bit as good. The first movement's deadpan humor comes across with perfect clarity and point. The ghostly waltz that follows has the same quiet intensity as the Fifth Symphony's Largo, while the scherzo demonstrates just how well Kreizberg has the orchestra on its collective toes. His account of the finale just might be the best on disc: he goes completely nuts in the recapitulation, with a freedom of tempo that the composer surely would have applauded, and the coda breezes by at a truly startling clip. It's at once the most hilarious as well as the most satisfying account of this movement to have appeared yet. Do not miss this release. [4/11/2007]

--David Hurwitz