Larissa Gogolewskaja, Sergei Aleksashkin, Chor und Symphonieorchester des Bayerischen Rundfunks & Mariss Jansons - Shostakovich The Complete Symphonies
With the addition of this disc to his much-acclaimed Shostakovich symphony cycle, Mariss Jansons' endeavor is complete just in time for the composer's centenary year. In keeping with the tradition of his last three recordings for this set, Jansons is featured at the helm of his very own Bavarian Radio Symphony Orchestra & Chorus. The diverse cycle, in its entirety, features performances from orchestras across the globe, including the London Philharmonic, the Philadelphia Orchestra, and the Oslo and Berlin Philharmonic orchestras. The symphonies that Jansons has procrastinated in recording have a set of oddly different requirements. Shostakovich's experimental and contiguous Symphony No. 3 is prone to lackluster readings; it has never been one of the composer's most popular. And, while the Symphony No. 14 is certainly not unpopular, it presents its own difficulties of dark, suicidal texts in numerous languages all translated into Russian (at least one venerated conductor, Bernard Haitink, has recorded the work with the texts all in their original languages of origin). Neither of these factors, though, is an obstacle for Jansons. In fact, rarely has a Third ever radiated with such blazing intensity, commitment, and energy as Jansons and his orchestra give this performance. Jansons and the Bavarian Radio Symphony play both works with the crass bite of a Russian orchestra, mixed with the passion and excitement that would be expected from a period Russian group and complemented by the addition of accuracy rarely given by such forces. The Bavarian Radio Symphony Chorus proves to be a formidable interpreter of Semyon Kirsanov's text "The First of May," which in Shostakovich's dark setting remains somewhat politically enigmatic. For Shostakovich's monumentally depressing Fourteenth, Jansons joins forces with two outstanding artists: bass Sergei Aleksashkin, a former member of the Kirov, and relative newcomer and soprano, Larissa Gogolewskaja. Indeed, it's difficult to imagine a better pairing than that of these two: both singers convey a sense of empathy and understanding to Shostakovich's music and bring out the deep, dark pain of Shostakovich's chamber-esque masterwork. Jansons has the Bavarian Radio Symphony in top form for this recording; one of the best of both works ever to appear.
I'm frankly amazed (but not really surprised) that in this economically difficult time EMI releases two recordings of the intimidatingly grim Fourteenth Symphony. Still, this issue gets my vote as the finest thus far in Jansons' ongoing Shostakovich cycle. He hasn't quite the sheer lyrical sumptuousness of Rattle's Berlin recording, but this version has even greater intensity-and happily uses the original Russian, rather than the musically nonsensical multi-lingual edition of the poems. Indeed, in Malaguena and Loreley the only recording that comes close is Rostropovich's on Teldec. More to the point, Jansons clearly has the finest soloists since that storied version (dating from the time of the symphony's Russian premiere) and he's very beautifully served by the typically adept Bavarian Radio engineers.
Bass Sergei Aleksashkin sings magnificently, with refulgent tone from bottom to top: and he really has a bottom, unlike so many others who have taken this role. But despite the largeness of his sound, he's amazingly nimble, whether narrating Loreley or hurling insults in The Zaprozhian Cossacks' Reply to the Sultan of Constantinople. He really pours on the tone in O Delvig, Delvig! This just may be the most heartfelt account of that song yet recorded. Soprano Larissa Gogolevskaya isn't far behind, interpretively. Her timbre is very Slavic and a touch raw-aptly so in this case-but she has two big pluses: she controls her sound and sings very beautifully in soft dynamics, and her upper register is surprisingly open and easy. That makes The Suicide particularly moving, while she really does come across as psychotic in On Watch-her way with the text is incredibly communicative, rivaling Vishnevskaya at her best.
Jansons coaxes uniformly excellent string playing from the Bavarian orchestra, both here and in the Third Symphony, which also receives what arguably is its finest performance on disc. From the opening clarinet duet it's clear that Jansons takes the music seriously, never mistaking its experimental qualities for a lack of inspiration or technical weakness in execution. Yes, the piece has no discernible form (it was Shostakovich's intention to write a piece without any repetition of themes) and the closing chorus is monumentally uninvolving, but the interpretation really does make you forget all of that and simply revel in the terrific playing (and singing). Jansons makes the music sound as if it really matters, and no praise can be higher than that. This is an outstanding release, from start to finish. Indeed, if I had to choose a single version of the Fourteenth Symphony (and there are quite a few very fine ones) to set alongside Rostropovich's, this would be the one.
Симфония № 3
Симфония № 3 Es-dur "Первомайская", Op. 20, с финальным хором на слова С. Кирсанова (1929). Премьера - 21 января 1930, Ленинград. Оркестр и хор Ленинградской филармонии, дирижёр А. Гаук
Симфония № 3 в ми-бемоль мажор, соч. 20 - симфония Дмитрия Шостаковича с подзаголовком "Первомайская". Впервые исполнена Ленинградским филармоническим оркестром и Академией хоровой капеллы под управлением Александра Гаука 21 января 1930 года. В симфонии использованы стихи С.Кирсанова.
Шостакович заявлял, что эта симфония выражает дух мирного восстановления, однако, большая часть произведения выдержана в темных тонах. В 1932 году Леопольд Стоковский представил работу в США, исключив хор. Последующие выступления много раз встречались с непониманием и неприятием. Западные критики воспринимали симфонию как типичную пропагандистскую работу, были и русские критики работы, в том числе композитор Сергей Прокофьев.
The Symphony No. 3 in E flat major (Opus 20; subtitled First of May) by Dmitri Shostakovich was first performed by the Leningrad Philharmonic Orchestra and Academy Capella Choir under Aleksandr Gauk on 21 January 1930.
The symphony lasts around 25 to 30 minutes. The finale sets a text by Semyon Isaakovich Kirsanov praising May Day and the revolution. Interpretation is difficult: in a letter to Boleslav Yavorsky, Shostakovich said that the work "expresses the spirit of peaceful reconstruction"; on the other hand, most of the material preceding the finale is dark and sometimes sardonic in tone.
Symphony 14 др. исполнение
Symphony 14 др. исполнение