Описание CD

вернуться        закрыть окно  

 


  Исполнитель(и) :
◄◄◄        ►►►

  Наименование CD :
   Symphony No. 7



Год издания : 2000

Компания звукозаписи : Aquarius, Decca, (ru)

Время звучания : 1:19:24

Код CD : AQVR 002-2, Decca [425068]

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Symphony)      

London Philarmonic Orchestra - Bernard Haitink

It is impossible to deny the overwhelming impact Shostakovich's Symphony No. 7 had on its listeners in 1942. Written by Shostakovich after he had been transported out of his besieged hometown of Leningrad, the Seventh is a patriotic hymn to his city and country and a rallying cry to the foes of fascism. Its premiere in the U.S.S.R. was world news and securing its first performance rights in the West was contested by Toscanini, Stokowski, and Koussevitzky. Toscanini won, and the work was rapturously received and repeatedly performed. But even before the war had ended, the exalted position of the "Leningrad" Symphony had slipped and commentators in the West derided it as pompous and prosaic. The symphony, rehabilitated from being a patriotic piece to being a subversive piece based on the purported testimony of Shostakovich, only later received regular performances in the West. The truth is that Shostakovich's Seventh is an enormous piece for a gargantuan orchestra set in four vast movements lasting more than 70 minutes in performances. Its opening Allegretto, nearly half an hour in length, has proud and determined C major themes at its start and close and a central section that takes a theme from Offenbach and turns it into a massive ostinato that overwhelms the C major themes with its brutal banality. This is followed by a haunted Moderato of plucked strings and screeching woodwinds and by a vast Adagio with stirring strings and bold brass. The closing Allegro non troppo returns to the monumental style of the opening movement with grand and glorious themes culminating in an interminable C major climax. The truth is that the Seventh is a work of banal themes and bombastic climaxes, but Shostakovich's imagination and discipline have fused the banal and bombastic into an overwhelming musical work.

-James Leonard

====

Симфония № 7

Symphony 7 др. исполнение

Симфония № 7 C-dur "Ленинградская", ор. 60 (1941). Премьера - 5 марта 1942, Куйбышев, Дом культуры. Оркестр Большого театра, дирижёр С. Самосуд

Седьмая симфония "Ленинградская" до мажор соч. 60 - одно из важнейших произведений Дмитрия Дмитриевича Шостаковича, созданное в 1941 году.

Знаменитая тема первой части симфонии была написана Шостаковичем до начала Великой Отечественной войны - в конце 30-х годов или в 1940-м. Это были вариации на неизменную тему в форме пассакальи, по замыслу сходные с "Болеро" Мориса Равеля. Простая тема, поначалу безобидная, развиваясь на фоне сухого стука малого барабана, в конце концов вырастала в страшный символ подавления. В 1940 году Шостакович показывал это сочинение коллегам и ученикам, но не опубликовал и публично не исполнял. Когда летом 1941 года композитор начал писать новую симфонию, пассакалья превратилась в большой вариационный эпизод, заменивший разработку в первой её части, законченной в августе.

В сентябре 1941 года, уже в блокированном Ленинграде (блокада началась 8 сентября), Шостакович написал вторую часть и начал работу над третьей. Первые части симфонии он писал в доме Бенуа на Каменноостровском проспекте. 1 октября композитор вместе с семьёй был вывезен из Ленинграда; после недолгого пребывания в Москве он отправился в Куйбышев, где 27 декабря 1941 года и была закончена симфония.

Премьера произведения состоялась 5 марта 1942 года в Куйбышеве, где в то время находилась в эвакуации труппа Большого театра. Седьмая симфония была впервые исполнена в театре оперы и балета оркестром ГАБТ СССР под управлением дирижёра Самуила Самосуда. 29 марта под управлением С. Самосуда симфония была впервые исполнена в Москве. Чуть позже симфонию исполнил оркестр Ленинградской филармонии под управлением Евгения Мравинского, находившийся в то время в эвакуации в Новосибирске.

Зарубежная премьера Седьмой симфонии состоялась 19 июля 1942 года в Нью-Йорке - её исполнил Симфонический оркестр Нью-Йоркского радио под управлением дирижёра Артуро Тосканини.

9 августа 1942 года Седьмая симфония прозвучала в блокадном Ленинграде; оркестром Ленинградского радиокомитета дирижировал Карл Элиасберг.

Среди выдающихся дирижёров-интерпретаторов, осуществивших записи Седьмой симфонии, - Артуро Тосканини, Евгений Мравинский, Леонард Бернстайн, Кирилл Кондрашин, Леопольд Стоковский, Геннадий Рождественский, Евгений Светланов, Юрий Темирканов, Бернард Хайтинк, Карл Элиасберг, Марис Янсонс, Неэме Ярви.

Начиная с исполнения в блокадном Ленинграде, симфония имела для советской и российской власти огромное агитационно-политическое значение. 21 августа 2008 года фрагмент первой части симфонии был исполнен в разрушенном грузинскими войсками южноосетинском городе Цхинвале оркестром Мариинского театра под управлением Валерия Гергиева. Прямая трансляция показана по российским каналам "Россия", "Культура" и "Вести", англоязычному каналу Russia Today, а также транслировалась в эфире радиостанций "Вести ФМ" и "Культура". На ступенях разрушенного в результате артобстрела здания парламента симфония была призвана подчеркнуть параллель между грузино-южноосетинским конфликтом и Великой Отечественной войной.

Мотивы симфонии можно услышать в теме Германии в игре "Антанта".

В анимационном сериале "Меланхолия Харухи Судзумии", в серии "День Стрельца", используются фрагменты Ленинградской симфонии. Впоследствии, на концерте "Suzumiya Haruhi no Gensou" Токийским государственным оркестром исполнялась первая часть симфонии.

На музыку 1-й части симфонии был поставлен балет "Ленинградская симфония", получивший широкую известность.

'Wikipedia lib.'

Dmitri Shostakovich's Symphony No. 7 in C major, Op. 60 (titled Leningrad), was written c. 1939-40. Initially dedicated to the life and deeds of Vladimir Lenin, Shostakovich decided instead to dedicate the symphony to the city of Leningrad on its completion in December 1941. The work remains one of Shostakovich's best-known compositions.

The piece soon became very popular in both the Soviet Union and the West as a symbol of resistance to Nazi totalitarianism and militarism. It is still regarded as the major musical testament of the estimated 25 million Soviet citizens who lost their lives in World War II. The symphony is played frequently at the Leningrad Cemetery, where half a million victims of the 900-day Siege of Leningrad are buried. As a condemnation of the German invasion of the Soviet Union, the work is particularly representative of the political responsibilities that Shostakovich felt he had for the state, regardless of the conflicts and criticisms he faced throughout his career with Soviet censors and Joseph Stalin.

The symphony is Shostakovich's longest, and one of the longest in the repertoire, with performances taking approximately one hour and fifteen minutes. The scale and scope of the work is consistent with Shostakovich's other symphonies as well as with those of composers considered to be his strongest influences, including Bruckner, Mahler, and Stravinsky.

The symphony is written in the conventional four movements.

Allegretto (25-30 minutes)

The first movement takes on the sonata form, a common structural convention in symphonic composition since the 18th century. It begins with a rousing, majestic theme played by all the strings, which is subsequently echoed by woodwinds. The melody continually rises in pitch through the first moments of the piece, with octave-long runs in the strings. This is followed by a slower, more tranquil section driven by flutes and lower strings. This quieter part leads directly into the so-called invasion theme, a 22-bar ostinato that will pervade much of the movement. This "march" is actually a pastiche of "Da geh' ich zu Maxim," from Franz Lehar's operetta The Merry Widow for its latter half and a theme from Shostakovich's opera Lady Macbeth of the Mtsensk District, the work for which the composer suffered his first official denunciation in 1936. The prominent sequence of six descending notes in the seventh bar, derived from the Lehar, has been said by musicologist Ian McDonald to resemble the third bar of Deutschland Uber Alles. This composite is first played softly by the strings pizzicato, then is echoed by multiple instruments accompanied by the snare drum. The march is repeated twelve times, louder and more accented each time, somewhat in the manner of Maurice Ravel's Bolero. Other instruments accompany with undertones that forebode increasing action and excitement. At the end of the twelfth repetition, the brass (particularly the trumpets) interject very loudly with a new, more frantic theme, announcing the arrival of the invaders. The passage has rising and falling scales, one after the other. This snare drum beats at an increased rate, and several exchanges between the brass occur, resembling danger sirens. This climaxes in a somewhat slower, but loud and chaotic passage driven by competing blaring brass and frantic strings. A slower, two-part section follows: a very prominent bassoon solo (introduced by a solo clarinet), then a soft, moving recapitulation of the first theme played by the strings. The short coda presents the invasion theme one last time, played by a solo trumpet and percussion.

Moderato (poco allegretto) (10-15 minutes)

The second movement, originally titled Memories is the symphony's shortest. Though this title is the movement's only heading other than its tempo indication, Shostakovich referred to it as both a scherzo and a lyric intermezzo. It begins in the latter vein with a quiet, playful theme in the strings. Some aspects of the interplay of the violins are evocative of a fugue. Moments later, a solo oboe plays a high variation on the tune. Other instruments continue with tunes of their own for several moments. Then, in the middle of the movement, woodwinds interject with a brash, shrill theme, followed by brass, then strings, then woodwinds. This eventually leads to a quick, majestic passage that is another ostinato, but different from the invasion theme in the first movement. The remaining third of the movement is much like the beginning of the second movement.

Adagio (15-20 minutes)

The third movement is structured much like the second, with a slow initial theme, a faster middle section that evokes the first movement, and a recapitulation of the initial theme. The original title for this movement was Our Country's Wide Spaces. Shostakovich stated elsewhere that he had hoped to portray Leningrad by twilight, its streets and the embankments of the Neva River suspended in stillness. Woodwinds begin with slow, sustained notes, accentuated by muted brass. This simple theme cadences, and is followed by a declamatory theme played by violins. Winds and brass repeat the string theme, which the strings take over with another brief variation. This transitions directly into a faster and fiercer passage. The violins return with the opening theme of the movement. This builds into a somewhat frantic passage underlaid by an ostinato in the lower strings (a deliberately awkward "oomph-pah" motif). This leads into a loud development section evoking the first movement. However, the passage ends quickly, with the woodwinds bringing back the original theme, again echoed by the strings, just as in the beginning. The final third of the movement continues in this vein.

Allegro non troppo (15-20 minutes)

The fourth movement begins with a very quiet, searching melody in the strings that slowly rises in pitch. The high strings hold the high notes, and are joined briefly by woodwinds. The low strings suddenly begin a quick march-like tune that is answered by increasingly frantic violins, and point-like interjections from the rest of the orchestra. This sustained section continues for several minutes with increasing frenzy. A brief break comes in the form of a transition passage with repetitive triplets played by high strings, accented by slap pizzicati in the cellos and bass. A slower, deliberately paced and sharply accented section follows. Several minutes of quiet foreboding take place from this point, with melodies from previous movements (particularly the first movement). Woodwinds build one of these melodies until violins take over with another familiar melody that builds to the ferocious climax. The piece ends in the key of C major, but it is by no means a joyous ending. Near the conclusion of the movement, there is a piercing interjection of repetitive statements, shattering hopes of a happy ending. Previous themes are brought back, only this time laboriously augmented, and the colossal C major finish is quite ambiguous, if not blatantly ironic.

'Wikipedia lib.'


  Соисполнители :

Соисполнители не найдены


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 I. Allegretto 'War'         0:28:59 Symphony No.7 In C Major, Op.60 'Leningrad'
   2 II. Moderato (Poco Allegretto) 'Memories'         0:11:35 -"-
   3 III. Adagio 'My Native Field'         0:20:22 -"-
   4 IV. Allegro Non Troppo 'Victory'         0:18:28 -"-

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

вернуться        закрыть окно

Последние изменения в документе сделаны 20/10/2016 22:07:24

Главная страница коллекции

Collection main page