Dmitri's Dacha

[Madiel]

To think he only had 9 more to go for all the keys...

[amw]

If he followed the sequence the remaining keys would have been -
No. 16 in B major
No. 17 in g-sharp minor
No. 18 in E major
No. 19 in c-sharp minor
No. 20 in a minor
No. 21 in... e minor (= f-flat minor)? Maybe he would have skipped straight to d minor on this one?
No. 22 in d minor (or b minor)
No. 23 in b minor (or g minor)
No. 24 in g minor (or e minor)

In my less sane moments I've contemplated writing some Shostakovich 'fanfic' and sketching the incipits, at least, of some of those

[North Star]

Today, I found I was able to listen to the entire cycle of string quartets over the course of the day. I don't say that I commend the practice to anyone . . . although I certainly enjoyed it completely, so I do not dissuade anyone who is inclined to try.  I was not nearly so familiar with the quartets as I wish to be, but I had a better than passing acquaintance with all of them;  so that my own listening history with them made the project both coherent and worthwhile.

Here I'll recapitulate the biographical extracts which I posted concurrently with my day's listening.
...
№ 6 in G, Opus 101 (1956)

Fay reports: For the first time since the composition of the Tenth Symphony, he was able to report he was satisfied with something he had composed. (The footnote refers to a volume (in Russian) of letters to his friends, so the statement is probably a reflection of sincerity . . . makes me want to check the intervening opus numbers . . . .)

Sincere indeed:

Op. 93: Symphony No. 10 in E minor (1953)
Op. 94: Concertino for two pianos in A minor (1953)
Op. 95: Music to the film Song of the Great Rivers (1954)
Op. 96: Festive Overture in A major for orchestra (1954)
Op. 97: Music to the film The Gadfly, based on the novel by Voynich (1955)
Op. 97a: Suite from The Gadfly for orchestra (1955)
Op. 97b: "Tarantella" from The Gadfly for two pianos (1955)
Op. 98: Five Romances on Verses by Dolmatovsky for bass and piano (1954)
Op. 98a: "There Were Kisses", song after Dolmatovsky for voice and piano (1954)
Op. 99: Music to the film The First Echelon (1955–1956)
Op. 99a: Suite from The First Echelon for chorus and orchestra (1956)
Op. 99b: Two Songs from the Music to The First Echelon for voice and piano (1956)
Op. 100: Spanish Songs for (mezzo)soprano and piano (1956)
Op. 101: String Quartet No. 6 in G major (1956)

[Madiel]

There's a lot of film/incidental type music in that period.

[Karl Henning]

And I like the Festive Overture very well . . . but allowing that it is a very fine bit of tossed-off lighter music, one sees his point, indeed.

[North Star]

And I like the Festive Overture very well . . . but allowing that it is a very fine bit of tossed-off lighter music, one sees his point, indeed.

Nothing wrong with e.g. The Gadfly either, but it's hardly comparable with Opp. 93, 92 (SQ No. 5), 101, 102 (PC No. 2), or 103 (Symphony No. 11)

[Karl Henning]

Exactly.

[Brian]

FYI



Available for download now on eClassical; physical release probably in March.

[Mirror Image]

FYI



Available for download now on eClassical; physical release probably in March.

I've been nothing but disappointed with Wigglesworth's Shostakovich cycle. I think it could very well be some of the worst Shostakovich performances I've heard. Terribly undernourished and lacking emotional drive.

[Brian]

Update: Oddly, this is a new recording of #15 (recorded in 2006) coupled to the same recording of #1 which was already released on a disc with the Second and Third symphonies. I browsed the booklet PDF and marketing info and found no explanation.

[Brahmsian]

First listen to this marvelous music (thanks Don/Sammy/Bulldog for the recording recommendation)    This set includes Skriabin's Op. 11 Preludes, and Shostakovich's Op. 34 Preludes.

[asin]B0000037BS[/asin]


And now listening to this terrific set of recordings of all Shostakovich's concertos:

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[Dancing Divertimentian]

I like this



The only problem is that Vol. 1 OOP.

Mustonen does a great Op.34, too. But (in a familiar theme) OOP, unfortunately:

[Brahmsian]

Just can't stop listening to this set.  All I've listened to the past couple of days. 


[asin]B0000C6IW1[/asin]

[kishnevi]

Just can't stop listening to this set.  All I've listened to the past couple of days. 


[asin]B0000C6IW1[/asin]

Mullova's recording of VC 1 remains, after all these years since I first heard it, my favorite for that particular work.

[Mirror Image]

Mullova's recording of VC 1 remains, after all these years since I first heard it, my favorite for that particular work.

I used to enjoy that performance until I heard a better performance of what I consider the heart piece of the work: the Passacaglia. The performance in question is Vengerov/Rostropovich. I also prefer Batiashvili/Salonen to Mullova/Previn. But different strokes for different folks.

[Dancing Divertimentian]

Mullova's recording of VC 1 remains, after all these years since I first heard it, my favorite for that particular work.

Mine, too. Though Daniel Hope w/Maxim Shostakovich is also very fine.

[jlaurson]

If you speak German (or are in Vienna today or tomorrow), this might be of interest:





Musikalisches Armbrustschießen: Wiener Symphoniker und Schostakowitsch


http://konzerthaus.at/magazin/Home/tabid/41/entryid/337/Default.aspx

Nach seinen Vokal-Symphonien Nr. 13 und 14 kehrte der todkranke (und sich dessen bewusste) Dmitri Schostakowitsch in seiner 15. und letzten Symphonie zu einer relativ klassischen Form mit vier klar strukturierten Sätzen zurück. Schostakowitsch beschrieb den ersten Satz, das Adagietto, als ,,Spielzeugwarenladen mit vielem Krimskrams und Plunder – durch und durch heiter." Der Hörer wird nach diesem ersten Satz nicht umhinkommen, die Worte des Komponisten anzuzweifeln. Wenn dies ein Spielzeugwarenladen ist, dann einer der kleine Panzer, Spielzeuggewehre und Juniors erstes Folterset verkauft...

[Mirror Image]

Mine, too. Though Daniel Hope w/Maxim Shostakovich is also very fine.

I don't like the Hope/M. Shostakovich either. I don't think Hope is a first-rank soloist nor do I think he possesses a full-bodied, rich tone. It's just too thin sounding for my tastes.

[Dancing Divertimentian]

I don't like the Hope/M. Shostakovich either. I don't think Hope is a first-rank soloist nor do I think he possesses a full-bodied, rich tone. It's just too thin sounding for my tastes.

Well, to be quite honest, I wouldn't touch that Vengerov/Rostropovich recording with a ten-foot pole. (And I've tried). Rostropovich is one of the weakest, least insightful "conductors" I've ever encountered.

But that's just my taste, right? So knock yourself out, MI.

[Mirror Image]

Well, to be quite honest, I wouldn't touch that Vengerov/Rostropovich recording with a ten-foot pole. (And I've tried). Rostropovich is one of the weakest, least insightful "conductors" I've ever encountered.

But that's just my taste, right? So knock yourself out, MI.

If I'm reading this correctly, you sound like you're getting defensive about something that you shouldn't be defending, DD. I was just giving an opinion. However wrong-headed it may be is entirely up to the reader.