The Definitive Shostakovich VC No. 1

[Harry Collier]

As opposed to growing up in Los Angeles and Philadelphia as your preferred performer does? This is hardly a fair criticism. For many of the performers you mentioned, they almost universally share a similar musical upbringing from one prestigious institute of learning to another and come from families of means.

Fair comment. What I meant was that some people, either through natural feelings, acquired experiences or from shared backgrounds, can empathise with sorrowful / joyful / tragic / happy events, whilst others remain on the outside. Mullova, Oistrakh, Repin, Josefowicz, et al seem to me to feel Shostakovich's world in this concertos. Others, such as Kogan and Hahn, do not. That's all.

[sidoze]

Leonid Kogan, (Kondrashin, Moscow Philharmonic, 1959) or (Kondrashin, Moscow Philharmonic, 1962) or (Erich Leinsdorf, Boston SO, 1964) or (Svetlanov, USSR SO, 1976) or (Irwin Hoffman, Chicago SO, 1966). Kogan is one of my very favourite violinists. I am usually pretty disappointed by his playing in the first Shostakovitch concerto, however. Perhaps it was because he was embarrassed by Shostakovitch's depiction of Soviet suffering in this concerto? Best of the bunch is the 1966 Chicago recording.

Can't say I liked Kogan's either. He always seemed too icy in this work.

Vadim Repin, (Kent Nagano, Hallé, 1994). One of the best of the bunch. Repin often plays this concerto and really digs down into it. I also have off-air recordings (with Masur, Paris in 2004) and with (Daniele Gatti, London, 2000). Always fine, and in the later recordings Repin has -- advantageously -- re-thought his speed for the first movement and for the passacaglia.

Basically he matured, and his reading is much more intense now than in his early recording. If I'm not mistaken, in the performance with Masur he plays the opening of the finale alone, without orchestra, as it was originally intended.

Julian Sitkovetsky, (Alexander Gauk, USSR SO, 1956). Great performance; dim recording.

Forget about sonics, in terms of intensity this performance mops the floor with all others.

[Bunny]

This has been my only version of the Shostakovich VC 1 and I've liked it.  Not only that but it was my first classical cd...or at least one of the firsts   I really enjoy Vengerov's playing in this and I also have his Prokofiev VC 1 on the same lable.  I would recommend this!

Now the Shosty V/Cs are packaged together?  When I bought them I had to get the Shosty 1 with the Proky 1 and the Shosty 2 with the Proky 2 -- not that it was torture listening to the Prokofieff.

Anyway, the Vengerov recordings are my favorites for the Shostakovich V/Cs.

 

[karlhenning]

-- not that it was torture listening to the Prokofieff.

Perish the thought!  0:)

[snyprrr]

Adding to the discussion, below is a short commentary on the recordings I actually own. Order is alphabetical by violinist. I've skipped over the off-air performance details since most readers won't have access to them.

Sarah Chang, (Simon Rattle, Simon, Berlin PO, 2005) Well played. Badly recorded. Interesting, but not really competitive.

James Ehnes, (Marin Alsop, Bournemouth SO, 2006). Off-air.

Michael Erxleben, (Claus Peter Flor, Berlin SO, 1990). Weirdly slow – the cadenza lasts for hours. I like it for the incredibly dark sound of Erxleben's violin, which almost sounds like a viola. It's also a "different" reading from the emotional Russians.

Ilya Gringolts, (Vassily Sinaisky, Vassily BBC Philharmonic, 2002). Off-air
HC 107

Alina Ibragimova, Alina (Stefan Solyom, BC Scottish SO, 2007). Off-air. An encouraging testimony to the future of the Shostakovitch concerto over coming decades from this very young artist.

Leila Josefowicz, (Sakari Oramo, Birmingham SO, 2006). Very fine indeed. Josefowicz digs deep into this concerto. Her coupling – the difficult Shostakovitch violin & piano sonata – is a classic performance. Highly recommended CD. I also have her off-air a few months later, but the earlier commercial CD is a better performance

Oleg Kagan, (Alexander Lazarev, Moscow Philharmonic, 1981). Has its fans, but I think the field is too competitive to spend long on this.

Ilya Kaler, Ilya (A. Wit, Polish National Radio SO, 1996). Decent routine recording.

Sergei Khachatryan, (Kurt Masur, Orchestre National de France, 2006). A very fine performance from a very young violinst. Up with the best. The coupling (second concerto) is not at the same level, however.

Leonid Kogan, (Kondrashin, Moscow Philharmonic, 1959) or (Kondrashin, Moscow Philharmonic, 1962) or (Erich Leinsdorf, Boston SO, 1964) or (Svetlanov, USSR SO, 1976) or (Irwin Hoffman, Chicago SO, 1966). Kogan is one of my very favourite violinists. I am usually pretty disappointed by his playing in the first Shostakovitch concerto, however. Perhaps it was because he was embarrassed by Shostakovitch's depiction of Soviet suffering in this concerto? Best of the bunch is the 1966 Chicago recording.

Stoika Milanova, (V Stefanov, Philharmonica Bulgarica, 1975). I am very fond of this performance. Milanova was an Oistrakh pupil

Viktoria Mullova, (Andre Previn, RPO, 1988). Also off-air in 2001 with Salonen and the Philharmonia. The later off-air performance is better.

David Oistrakh, (Mravinsky, Leningrad Philharmonic Orchestra, 1956) or (Mravinsky, Czech Philharmonic Orchestra, 1957) or (Maxim Shostakovitch, Philharmonia, 1972) or (Mitropoulos, NY Phil, 1956) or (Maxim Shostakovitch, USSR Radio Orchestra, 1972). Take  your pick; Oistrakh was a very consistent performer with little variation in his playing between performances here. It all comes down to recording, with the "famous" New York performance receiving an awful recorded balance – and an orchestra that, understandably, didn't sound too familiar with the music. Best of the Oistrakh bunch is probably the 1957 Czech recording.

Vadim Repin, (Kent Nagano, Hallé, 1994). One of the best of the bunch. Repin often plays this concerto and really digs down into it. I also have off-air recordings (with Masur, Paris in 2004) and with (Daniele Gatti, London, 2000). Always fine, and in the later recordings Repin has -- advantageously -- re-thought his speed for the first movement and for the passacaglia.

Dimitri Sitkovetsky, (Andrew Davis, BBC SO, 1989). Pretty routine.

Julian Sitkovetsky, (Alexander Gauk, USSR SO, 1956). Great performance; dim recording.

Sergei Stadler, (Martinov, Leningrad, 1983). Not competitive in this crowded field.

Viktor Tretyakov, (Temirkanov, State SO of USSR, 1981). Another OK Russian performance.

Mikhail Vaiman, (Kurt Sanderling, Leningrad Philharmonic, 1957). Yet another OK Russian performance.

Maxim Vengerov, (Rostropovich, LSO, 1994). Recorded back in the days when Vengerov was a more serious violinist. An excellent performance, and amongst the leaders.

Desert Island

I really love this concerto, so I'd need to be very careful in my choices. Both Repin and Vengerov would go with me, and I'd try to sneak Khachatryan on to my raft. But my first choice would probably be Leila Josefowicz who really seems to me to be thoroughly inspired in her playing in this concerto. (And, for the Hahn fan: yes, I have heard Hilary play this in concert. Beautiful playing, lovely sound, impeccable musicality. But I was left with the feeling that most girls growing up in Baltimore in the 1980s and 90s just didn't have the emotional background to comprehend those living in the Soviet Union in the 1940s and 50s.)

Midori?

[Mirror Image]

My vote goes to Lisa Batishavili/Salonen on DG. I also like Khachatryan/Masur on Naive and Vengerov/Rostropovich on Teldec.

[snyprrr]

My vote goes to Lisa Batishavili/Salonen on DG. I also like Khachatryan/Masur on Naive and Vengerov/Rostropovich on Teldec.

Lisa's getting more votes by the day... hmmm...

[snyprrr]

Prokofiev & Shostakovich VCs No.2

Please, and just to set the record straight (surely all will agree)- I just heard Vengerov for the very first time today, in the above Teldec release of the Nos.2, and

1) Sitkovetsky takes all three movements in the Prokofiev. One can hardly tell the performances apart, so, the only negative thing that stood out was Vengerov's slurping vibrato in the long notes of the first movement (where there seems to be just a hint of violence that never returns). I'll give Vengerov (and Shaham et al) points for the slower 'andante assai', but, Sitkovetsky's faster take yields an interesting rhythmic figure. In the end, Sitkovetsky's transparency wins.

2) Vengerov's DSCH 2 is inexplicably marred with what I must declare is a much to slow first movement. I'm convinced that one must time this from the quick, modal "fiddle" part- so that the introduction has some movement to it.  Clocking in at 14:35, Vengerov's "quick" part totally drags; whereas, at 12:35, Sitkovetsky (and Davis) slide right into the quick part at the proper, foot-stomping speed. Kremer also takes the long view, but I haven't heard his transition. (he might quicken the tempo)

However, Vengerov's slightly longer slow movement is the highlight of his performance on the disc, and the Teldec engineers lap up all the honey-fuzz of Vengerov's cadenza. Here, Sitkovetsky can go lick for lick with Vengerov, but the Virgin perspective isn't as sumptuous as the Teldec. I think I do prefer what seems like Sitkovetsky's more perfect tempo for the movement (since interesting rhythmic figures once again take precedence), but Vengerov sure knows how to milk it (I wonder about Mordkovitch's famous cadenza- need to examine).

Frankly, though the Teldec recording takes advantage, both performances sound almost exactly alike in the finale. The only time one hears a difference is when Vengerov "does something", otherwise both violinists sound remarkably similar. I have to say, having no idea how this was going to go, I declare to you that I would (will, most likely) sell the Vengerov at the quickest convenience. I am convinced that anyone trying to milk the first movement of the DSCH 2 has no idea what's going on, or is willfully subverting the music for perceived personal gain. Oistrakh plays it the quicker; Mordkovitch probably milks it as far as it will go (I can't see Jarvi letting the tempo flag here).

I've heard that Vengerov's DSCH 1 is not a first choice, and I am here to tell you that his 2nd can not be considered a Top3, so, I'm just saying that I'm somewhat surprised at this sudden reevaluation of imaginary expectations. I'm very pleased to report that Sitkovetsky hands down has one of the very very best "2s", maybe the best modern for both, though there are certainly many more Prokofievs out there. Mordkovitch or Oistrakh may be great foils to Sitkovetsky, but, his... "feminine/masculine" approach fits these "2s" perfectly (and, frankly, the recordings are up to Virgin's best standards), and, I have to lift up his ultra-cheap 2CD set of all four as, perhaps, the greatest single exploration of these works. Who else offers so much for so little?

[aukhawk]

Prompted by this thread I bought a download of Josefowicz
I already have Oistrakh/Svetlanov/USSR SO, Mordkovitch, Kogan/Kondrashin/Moscow and Vengerov.

I found the Josefowicz recording very disappointing - lumbering orchestral accompaniment, and lightweight almost Mendelssohnian violin.

Vengerov is my favourite of these, but I would probably prefer either Oistrakh or Kogan if they were better recordings.  I must look out that Oistrakh/M.Shostakovich version.

[Daverz]

A darkhorse favorite is Milanova:

http://www.prestoclassical.co.uk/r/Capriccio/C51135

[snyprrr]

Me, too.  While I do hope she records it again in say, 20 years, I like her version a lot.  Others on my favorites list: Vengerov, Repin and Salerno-Sonnenberg, and of those, Repin might be the current front-runner.  (I think it's great that there are so many fine recordings of this piece.)

--Bruce

I just got the Repin, and I think I had expectations that maybe aren't being met. I have now listened to the first minute of as many YTs as I could find, and what I'm hearing is that very few doing anything interesting with the first 3 notes- with Repin leading the pack with "why are you playing this so straight, my good man?".

Only the Vengerov with Rosty ON YOUTUBE (not the Teldec) had those first few notes melt for me (does he even hit a little harmonic action there on (is it) the fifth note?). Mordkovich almost did it. Mullova not so much. Hahn, though tiny, had an idea to do something with the first three notes. Oistrakh gives it the biggest vibrato, but he's not milking it.

Forgive me, but I thought I was going to be able to bypass the Vengerov/Teldec VC1, but, apparently not. Just tell me now if he plays the first few notes absolutely straight (the score seems devoid of indications) or if he does what he does on the YT video with Rosty (which is not the Teldec recording but 'live' I believe).

I also compared Repin to my now standard Dmitri Sitkovetsky (whom I don't herald for No.1; but his No.2 trumps Vengerov 3-to-1), and, frankly, except for a little more up-front-ness for Repin, there's precious little to choose between these two. Sitkovetsky/C.Davis are afforded Philips-styled Virgin sound; and Repin/Nagano are given a big glorious Teldec-styled sound- they have a greeeat tam tam that's not quite as well caught in the Virgin. Still, the Erato recording has a specific mid-EQ setting that, whilst perfectly natural and wonderful, is just a shade darker than what I would have liked (and maybe I'm just used to the Virgin sound for so long (it has that Philips-type sound I like)).

SO, I'M DISAPPOINTED.

1) I would like for someone to milk that 1st movement Moderato. Apparently, that's Vengerov... frankly, I GOT TIRED of hearing all these superstar violinists- from Hahn, to Kremer, to Khatch., to Repin 'live', and another Vengerov performance that wasn't the one I mentioned, Mullova- EVERYONE seems like a prima donna "I'm going to do something with this concerto", and then NONE of them hardly emote in the very opening- the flipping most intense VC opening of all time, and you're NOT going milk it a little?? What, are you ALL just such Refined and Taught Players that you can't just pooour into that opening, aye!!

So I'm thinking MI might have something with that Lisa B.? But, apparently I HAAAVE to get the Vengerov.

2) I haven't heard anyone screw up the Scherzo yet.

3) AYE!! I was really disappointed in Nagano's bass drums to the opening of the Passacaglia. Davis on Virgin really gives some nice hits. I recall they have the Midori Passacaglia, and that seemed underpowered. What's with everyone underpowering this intro?? Are people scared of this concerto or something?? I'd be hoping that Rosty on Teldec would save the day here.

4) I don't hear anyone screwing up the Burleske.



Still, I can't believe I was disappointed by Repin. I'll go through again, but now I have to hear Vengerov after all.

[North Star]

Khachatryan is kalling your name, snypss.

[snyprrr]

Khachatryan is kalling your name, snypss.

I'll admit his intro sounded pretty good, but isn't he somewhat reticent throughout? Also, is it 'live'? I thought I heard a sound in the beginning...  otherwise, I will give him serious consideration.

What about Salerno-Sonnenberg?

[aukhawk]

Just tell me now if he plays the first few notes absolutely straight (the score seems devoid of indications) or if he does what he does on the YT video ...

If the score is devoid of indications then surely 'straight' is unimpeachable?

[snyprrr]

If the score is devoid of indications then surely 'straight' is unimpeachable?

But I feel as though everyone's missing the point. I look at those three notes, quarter notes, just sitting on the pages, and some people just play them- and some people inhabit them. I just want to hear a duPre version... whatever that means...

Just listening some more to Repin vs. Sitkovetsky in the Passacaglia- pretty well matched, recordings have totally different profiles (though both very good, I slightly prefer the Virgin). I think I just want everyone to start putting Sitkovetsky in when they mention Vengerov and Repin;they're all three in the same general boat.

[snyprrr]

And I was disappointed in the Mullova- thinking it was going to be drama from the first note- and she's as timid as everyone else. I know, I know they all get cookin' later, but I want an epic misterioso/tragedy intro...only Vengerov seems to prefer the 13:30 'Nocturne'.

[kishnevi]

I'm not sure I want an epic mysterioso opening for VC1--playing it that way cuts into the effect of what comes later, especially the Passacaglia.

That's mostly a random musing....

[Pat B]

If the score is devoid of indications then surely 'straight' is unimpeachable?

No indication is not the same as an indication to play it straight (semplice?).

Whether it works musically is a different question. Jeffrey's comment is at least worth considering, I think.

[Sergeant Rock]

Forgive me, but I thought I was going to be able to bypass the Vengerov/Teldec VC1, but, apparently not. Just tell me now if he plays the first few notes absolutely straight (the score seems devoid of indications) or if he does what he does on the YT video with Rosty (which is not the Teldec recording but 'live' I believe).

I haven't heard the YT performance but in the Teldec recording he does milk the three notes more than most...well, as much as anyone could  Your obsession with those three notes would be rather comical if I didn't have my own obsessions about minor points in certain recordings. Yeah, they can be a make or break deal for me too.

3) AYE!! I was really disappointed in Nagano's bass drums to the opening of the Passacaglia....Are people scared of this concerto or something?? I'd be hoping that Rosty on Teldec would save the day here.

As recorded, Slava's drums are not impressive. Very disappointing. Salonen's timpani, though, are quite powerful.

The first movement and passacaglia of the concerto are simply gorgeous, from Lisa Batiashvili's dusky but rich timbre to Esa-Pekka Salonen's crystal-clear accompaniments. --Classics Today


Sarge

[snyprrr]

I haven't heard the YT performance but in the Teldec recording he does milk the three notes more than most...well, as much as anyone could  Your obsession with those three notes would be rather comical if I didn't have my own obsessions about minor points in certain recordings. Yeah, they can be a make or break deal for me too.

As recorded, Slava's drums are not impressive. Very disappointing. Salonen's timpani, though, are quite powerful.

The first movement and passacaglia of the concerto are simply gorgeous, from Lisa Batiashvili's dusky but rich timbre to Esa-Pekka Salonen's crystal-clear accompaniments. --Classics Today


Sarge

Gaaaaah Really? Rosty's bass drum suxx? I flippin just need ONE version that has it all- frankly, Sitkovetsky sounds better and better. Lisa B. is rising in the que (though she's got some yawny discmates)- and I'm frankly starting to consider Midori for the yuks. Gaah wtf is wrong with people???

)yea, I thought you might appreciate my nit picking here, haha)


Well, that bit of news really took the wind out today. Hmm... how about Fredell Lack, anyone??