Shostakovich Symphonies, Cycles & Otherwise

[Karl Henning]

Previn is also vg in No. 4 (EMI) [...]

With the Chicago Symphony;  a wonderful listen, the band in great form;  a good go, though not in my first tier.

Another fine account is the Haitink/CSO recording on the orchestra's own Resound label. I have to give both Bennie the edge over Previn (the band, though, sand great in both);  and Bennie's CSO recording the edge over his Concertgebouworkest recording.

[snyprrr]

From the Gramophone's Fourth death match:

Myung-Whun Chung. His brisk opening allegro is hardly 'poco moderato', and balance often goes badly awry. Conversely, the third theme is too measured, momentum tailing off as the development approaches.The second movement is better integrated, but the pulse is too rapid for its harmonic astringency fully to register. The Finale builds to a powerful initial climax, but the divertissement has too little wit. The peroration is recklessly garbled, while the coda has little latent catastrophe. The sound is opulent, but the score's dynamic extremes are not held in sharp enough focus. Fans of the Phildelphia Orchestra should certainly opt for the more characterful Ormandy.


Leonard Slatkin launches the first movement with crisp precision. As with Previn, the voltage remains low, despite an agile dash to the development's apex. The reprise is limp to the point of torpor, with little ominous import, while the second movement is too casual for its anxiety to hit home. The finale opens in strangely songful intimacy and proceeds through an effortful allegro, then a divertissement which recalls the Warner Brothers' cartoon composer Carl Stalling. The peroration leaves a forceful impression that the phlegmatic close dissipates. The Saint Louis Symphony's attentive playing and the detailed if soft-focus sound fail to rescue Slatkin's interpretation.



I don't own those two so I can't confirm or deny that critic's opinion.

Sarge

...the fluctuations of the permutations of astringency...


Yea! OK then!! haha


After hours of sampling last night (14) I must say that the Currentzis was the absolute best all-around I heard. I liked Jansons bass, but, ack, that soprano- yukk. Many of the other singers just didn't have that ommph I needed. Petrenko's singers pleased me. Wigglesworth seemed receded. Rattle with Quasthof?

Whaddaya think of those Discographies I Posted? That's quite a wade-through.

[Karl Henning]

After hours of sampling last night (14) I must say that the Currentzis was the absolute best all-around I heard.

I've heard that one warmly praised, and I must give it a go someday.

And My Man in Lisbon endorses the Petrenko . . . another one I must listen to!

This one is terrific:

[asin]B000TLPW4E[/asin]

[snyprrr]

I don't know why you are so fixated on the "oddball" choices before you've thoroughly explored the Soviets. I guess you're just being snyprrr 

Sarge

It's just that when I see issues by Polyansky, or Kamu, or Turovsky, etc.,... I ask, Why aren't these just as good, or not, as the others? Maybe they came out in the same month as a heavy hitter and weren't afforded any attention. What of Lazarev's 14th on Virgin? No word, no review... that's just the kind of thing that sets me a'hunting (which,- I just can't afford at the moment).

I just thought there would be someone more neurotic and anal than me about this- with the checkbook to back it up! I just want to lay the DSCH Discography to rest- it's thorny and needs trimming!

[snyprrr]

I've heard that one warmly praised, and I must give it a go someday.

And My Man in Lisbon endorses the Petrenko . . . another one I must listen to!

This one is terrific:

[asin]B000TLPW4E[/asin]

Again, sampling, found the soprano not to my liking. Whhhhy can't they sing normal?

Maybe I don't care whatever "Russian" is or is not supposed to be. I just want perfect voice, tone, blah. I will not stand for "Classical" singing here. garrumph-

Slava's wife??? are you kidding me? the shrillmeister? Eliz. Sodershrill? NOOOOOO!!


Anyhow- yes, the Petrenko singers didn't give me the hives.

Again- that's why I'd be interested in "odd ball" choices like the Lazarev/Virgin 14th. Who knows? Maybe the singers there are spectacular?

[Brahmsian]

And My Man in Lisbon endorses the Petrenko . . . another one I must listen to!

This one recently came into my hands (Petrenko 14th).  I have it in the queue for a first listen this week. 

[Karl Henning]

Again, sampling, found the soprano not to my liking. Whhhhy can't they sing normal?

I like her;  she sings beautifully.

But I understand that there are challenges to making suggestions to you for this symphony

[snyprrr]

Listening to this out of curiosity. I like how the basses in the passacaglia theme are clearly audible. Hearing the symphony live with Alexander Lazarev & the NZSO a few days ago they were quite difficult to hear, which threw me off a little. ("Why are we just listening to some timpani and viola wobbles?")

Lazarev did the 14th for Virgin? Do you have a review of that?

[snyprrr]

challenges

challenges... aaalways challenges

Frankly, I think I liked Barshai's '70s recording of the 14th almost the best (except for sonics- though the auditorium IS nice). The bass singer is right up front and deep (hear on YT) and the soprano doesn't give me the shrillies. The second movement is blisteringly fast.

I was checking timings- like with the last movement of 14. The closer they get to the 1:00 mark the better for me, the closer to the 2:00 mark, eh.

Same with the bass singer's 'Response'- 1:20, ok... 2:00, too long

Same with that blazing 2nd movement: 2:00 just too long... listen to that '70s Barshai, wow!




Anyhow, as far as the sopranos go, that Currentzis soprano pleased me (if you're looking for a snyprrr gauge). Jansons' was the worst I heard (just the sample from the 2nd movemnet, yukk).

[Brahmsian]

Anyhow, as far as the sopranos go, that Currentzis soprano pleased me (if you're looking for a snyprrr gauge).

Ahh!  One of the world's great mysteries! 

[Karl Henning]

Same with that blazing 2nd movement [of the Op.135]: 2:00 just too long... listen to that '70s Barshai, wow!

That's impossible.  The Barshai I have is 2:49, and it is not in the least drowsy.  Shaving 50 seconds off that is physically impossible.

[snyprrr]

Like, why wouldn't I want to get Shirley-Quirk in 13? hmm?

[jochanaan]

snyprrr, sadly, Dmitri Shostakovich himself would probably disagree with you about sopranos.  Galina and Slava were personal friends of his. 

The Fourteenth I keep going back to is the '70s one by Mme. Vishnevskaya, Mark Reshetin, Rostropovich and members of the Moscow Philharmonic.

[snyprrr]

That's impossible.  The Barshai I have is 2:49, and it is not in the least drowsy.  Shaving 50 seconds off that is physically impossible.

Sorry, you're right. I meant, the closer you get to 2:30. The original Barshai (on YT) is just sick. I'm just saying, I heard a lot of 2nd movements that didn't invoke the devil (again, the Currentzis 2nd movement is blazing).

I've got a head full of bad timings now, haha... give me a week!

[snyprrr]

snyprrr, sadly, Dmitri Shostakovich himself would probably disagree with you about sopranos.  Galina and Slava were personal friends of his. 

The Fourteenth I keep going back to is the '70s one by Mme. Vishnevskaya, Mark Reshetin, Rostropovich and members of the Moscow Philharmonic.

Can I just get this straight: Is there a Barshai from the '70s, or is there a Slava from the '70s? Both? Which is the one on YT that has such a blistering 2nd movement? (and the bass singer is nice and up front and deep sounding)

Again, the Rosty 14th on Teldec is this old '70s recording and not a new one for Teldec?




And, I know all this about 'authentic' and all,... but... what?... Vishneva has never been accused o

(nevermind)

I'd rather have Linda Ronstadt

[snyprrr]

What would be sweet is if y'all'd go down to the Amazon and just check out a few samples of issues you don't have, just for that quick soundbite. I know,... I'm a dik.

[Karl Henning]

Sorry, you're right. I meant, the closer you get to 2:30.

And on the Kremerata Baltica CD I mentioned: 2:43.  The Currentzis is 2:39 . . . so the differential could just be letting cadential chords ring a bit in the space.

You mean this Barshai?--

http://www.youtube.com/v/zooakKFzTjs

You're right, brisker, and thus more nervous.  A nice account, though I don't take it for a touchstone

[Karl Henning]

What would be sweet is if y'all'd go down to the Amazon and just check out a few samples of issues you don't have, just for that quick soundbite.

Well, and maybe we are . . . .

[Sergeant Rock]

After hours of sampling last night (14) I must say that the Currentzis was the absolute best all-around I heard.

He's my new favorite (love his soprano). But for sheer intensity, the old Slava with the "Shrillmeister" (  ) is hard to beat. But yeah, I understand your objection.

And My Man in Lisbon endorses the Petrenko . . . another one I must listen to!

Have not heard that one yet. The Hurwitzer raved about it in his 10/10 review, crowned it the reference recording along with Rostropovich.

Sarge

[Sergeant Rock]

Can I just get this straight: Is there a Barshai from the '70s, or is there a Slava from the '70s? Both? Which is the one on YT that has such a blistering 2nd movement? (and the bass singer is nice and up front and deep sounding) Again, the Rosty 14th on Teldec is this old '70s recording and not a new one for Teldec?

It would help if you gave us the link to the video. The Slava version I'm talking about is included in his cycle on the Warner label. A live recording with the Academic Symphony Orchestra Moscow with Vishnevskaya and Reshetin, Feb 1973.

Sarge