Shostakovich Symphonies, Cycles & Otherwise

[Karl Henning]

I had Haitink in the SELL pile. It goes back on the shelf

You have passed the Test, Grasshopper.

I'll revisit the Максим Дмитриевич recording today.

Incidentally, this may just be my favorite Fourteenth:

[snyprrr]

You have passed the Test, Grasshopper.

I'll revisit the Максим Дмитриевич recording today.

Incidentally, this may just be my favorite Fourteenth:

I actually did feel like I passed a Test there! Very odd, but I heard the Haitink in a whole new light. Fact is, he has some of the most succulent sonics bar none- sure, they remind me of the time- but it was a GOOD time then, haha! Haitink's 14th, also, despite any objections, has tremendous sonics. And the 5th... and...


I'm still wary there on that ECM. As soon as I saw it, Mr. Expectations arrived, who was quickly and brutally engaged by Kremer's "choices"- I will have to check again. How long is the 'Malaguena'?

I know I was complaining about "Sound" back there with the Prokofiev 5, and DSCH 4, and those things that I THOUGHT needed modern sound, but, for things like the 14th, creepy '70s sound may just be the ticket? That's why I thought Previn perfect for 8- early '70s sound. (Stokowski 11 actually sounds better than its vintage, therefore he's always been a keeper)


I don the ninja scarf of BuyItNow! as we speak, readying up for the next slaughter... uh, purchase... in TheQuest. Frankly, I'm doing about 50/50 since this reintroduction began a month ago. sigh Every wrong purchase is a scar, every instance of 'bad recording shock' like a stab in the back. Oh the horror!

(Puts in new arrival DSCH CD)

(CD begins playing)

(Within 10 seconds, snyprrr lets out a big "WTF? Come ON. What is that?")

(And the process begins anew)

[Karl Henning]

I'm still wary there on that ECM. As soon as I saw it, Mr. Expectations arrived, who was quickly and brutally engaged by Kremer's "choices"- I will have to check again. How long is the 'Malaguena'?

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.

[Karl Henning]

You have passed the Test, Grasshopper.

I'll revisit the Максим Дмитриевич recording [ of the Thirteenth ] today.

Magnificently good!

[snyprrr]

Symphony No.11 Op.103 (1957)

The fact is, there aren't enough good versions of this to warrant a Timings Chart! It seems like 11 has the least amount of competitive contenders out of all the Most Popular Symphonies. Review after Review lifts the same up, and tear the rest down. My own history with recordings is even less kind. I first heard the plucked harp and string introduction through Stokowski's dynamically compressed recording, and when I sampled any other (Haitink, DePriest, Jarvi), I was severely disappoint from the word, Go!

Apparently ONLY Stokowski ALLOWS us to hear the opening of this most Cinematic Symphony (maybe more on peoples' panty-ruffling over this... uh...FACT!). I mean, to me, every other Conductor seems willing to cheat us out of one of the most haunting First Notes in History. Go ahead and tell me what opening gives you the same special thrill that that initial pluck harp does. Go ahead. Waiting.

So, at your request I went a'11 huntin'. The new Rostropovich 'live' sits at the top of the heap, followed by Stokowski, Petrenko, and Haitink. Well, apparently, unless you live in a ...hyperbaric chamber- you won't actually HEAR but 20% of the music. Frankly, to keep from exploding in a furious rage I shall not further this line of inquiry- for I will hurl hyperbolic insult at anyone who defends The Dynamic Range from Hell.

Sorry.

So-

All I want to know is this: is there One along with Stokowski who simply ALLOWS ME to hear My Beloved Opening Harp? All I (MORE) ask from Stokowski is a) slightly more modern sound b) just tighten up the ensemble or interpretation minutely c) Just make the climaxes to just give that slight ,more volume at the very most brutal passages (Stokowski's dynamics, of course, get squashed flat in the loud parts, like a radio station compression (but of course not sounding bad at all)), and, d) LEAVE EVERYTHING ELSE!!- Just let those bells die out at the end (I mean, reeeally EMI engineers ).

So, go ahead, I dare you to knock this Stokowski off my shoulder. Dare ya!

[Brahmsian]

Symphony No.11 Op.103 (1957)

The fact is, there aren't enough good versions of this to warrant a Timings Chart! It seems like 11 has the least amount of competitive contenders out of all the Most Popular Symphonies. Review after Review lifts the same up, and tear the rest down. My own history with recordings is even less kind. I first heard the plucked harp and string introduction through Stokowski's dynamically compressed recording, and when I sampled any other (Haitink, DePriest, Jarvi), I was severely disappoint from the word, Go!

Apparently ONLY Stokowski ALLOWS us to hear the opening of this most Cinematic Symphony (maybe more on peoples' panty-ruffling over this... uh...FACT!). I mean, to me, every other Conductor seems willing to cheat us out of one of the most haunting First Notes in History. Go ahead and tell me what opening gives you the same special thrill that that initial pluck harp does. Go ahead. Waiting.

So, at your request I went a'11 huntin'. The new Rostropovich 'live' sits at the top of the heap, followed by Stokowski, Petrenko, and Haitink. Well, apparently, unless you live in a ...hyperbaric chamber- you won't actually HEAR but 20% of the music. Frankly, to keep from exploding in a furious rage I shall not further this line of inquiry- for I will hurl hyperbolic insult at anyone who defends The Dynamic Range from Hell.

Sorry.

So-

All I want to know is this: is there One along with Stokowski who simply ALLOWS ME to hear My Beloved Opening Harp? All I (MORE) ask from Stokowski is a) slightly more modern sound b) just tighten up the ensemble or interpretation minutely c) Just make the climaxes to just give that slight ,more volume at the very most brutal passages (Stokowski's dynamics, of course, get squashed flat in the loud parts, like a radio station compression (but of course not sounding bad at all)), and, d) LEAVE EVERYTHING ELSE!!- Just let those bells die out at the end (I mean, reeeally EMI engineers ).

So, go ahead, I dare you to knock this Stokowski off my shoulder. Dare ya!

I like the live recording of Kirill Karabits conducting the Bournemouth Symphony Orchestra.

[snyprrr]

Magnificently good!

And the choir? Their introduction- and their placement- is perfectly judged? (just tell me if Haitink lives or dies here, haha- ThereCanBeOnlyOne!)


btw- we've moved on to the 11th for the mid-morning (mail man has not yet arrived), check previous Post-

[snyprrr]

I like the live recording of Kirill Karabits conducting the Bournemouth Symphony Orchestra.

Just tell me if you can hear the Beloved Harp Intro. What's the... err... Dynamic Range here? Is this a Volume Setter's Paradise, or Set-It-and-Forget-It? There's a KarabitProkofiev 3/7 split- mm? eh? (he needs to shave!!)



I've just about had it with Shosty Conductors right now- I want the version I want, not the one you're willing to give me!!!

[Karl Henning]

Just tell me if you can hear the Beloved Harp Intro.

Revisiting the Максим Дмитриевич, aye, strings, harp & timpani in euphonious balance.

[snyprrr]

Revisiting the Максим Дмитриевич, aye, strings, harp & timpani in euphonious balance.

What do you think of the famous Masur 13th? It's only 25 cents. (but I won't get it if you say so)


Temirkanov's 13th would be TheOne if the recording was closer. What of Jansons's? Same soloist, good orchestra./// the only thing that could screw it up would be...


From the samples, Jarvi's 13th lacked conducting!?!?!?!


Solti's 13th impressed.

[relm1]

I was lucky enough to attend the Solti Shosti 13 with the Chicago Symphony live.  It was a shattering experience.  Solti spoke before the work saying he came late to appreciate Shostakovich but this music clearly touched him. 

I recommend the Collins/London Symphony/Maxim Shostakovich Symphony No. 5 and 10.  I think they're extremely well performed, phrased, and recorded.  It is generally of the sleepy style rather than the red hot Mavrinsky/Kondrashin interpretations.   Part of my love of Maxim Shostakovich might be sentimental because I think it's so cool that the son is conducting the father's music.

My go to list:

* No. 4: Haitink/Royal Concertgebouw/Decca (just a great combination of clarity/detail/intensity/quality)
* No. 5: Maxim Shostakovich/London Symphony/Collins (if I want lyrical and long phrased)
* No. 5: Mravinsky/Leningrad Philharmonic or Bernstein/NYPhil in Japan (if I prefer intensity over precision)
* No. 6: Haitink/London Philharmonic/Decca
* No. 7: Bernstein/Chicago Symphony/DG (so epic)
* No. 8: Haitink/Royal Concertgebouw/Decca
* No. 10: Maxim Shostakovich/London Symphony/Collins
* No. 11: No favorite - I like elements from many of them but no single one I've heard comes off as great as others do in various respects.  So this would probably be a frankenstien mishmash of recordings such as Stokowski/Houston for lyrical, Mravinsky for red bloodedness, Jansons/Philadelphia for overall quality
* No. 12: Haitink/Decca
* No. 13: Okko Kamu/City of Birmingham Orchestra and Chorus/Chandos
* No. 14: Petrenko/Bournemouth/Naxos
* No. 14: Haitink/Royal Concertgebouw (Live)
* No. 15: Haitink/Royal Concertgebouw (Live)

[Octave]

Thanks for that list, relm.  When you write:

* No. 7: Bernstein/Chicago Symphony/Chandos (so epic)

you mean DG, right?  I wanted to make sure I was not missing some dark horse Chandos label treasure.  I have the #7 coupled with #1 (DG/Grand Prix), which is something else.

OK, I thought you were pushin' Rosty/DDG in 5?

I push both: one for the "Testament" ending (Slava) and one for the Happy Ending (Lenny). I think you need both types of performances in your collection.

I want to make sure you are talking about this one, Sarge:


[asin]B00000E2NF[/asin]

I went back through several pages of thread but missed any mention of it.

[Sergeant Rock]

When you write:you mean DG, right?

All three of Slava's recordings are similar in interpretation (with that ironic monster of a Finale, smiling through gritted teeth) . I have DG and Teldec (Warner), prefer the Teldec marginally because it has superior sonics (the DG is early digital, the Teldec was recorded twelve years later). Things like the piano entry are clearer in the Teldec (the brass swamp the piano in the DG). The opening two notes, so important to snyprrr, are bolder, more powerful.  I don't know if the Teldec is available outside the box, though. If not, DG will do. LSO Live is supposed to be good too.

Sarge

[relm1]

Thanks for that list, relm.  When you write:you mean DG, right?  I wanted to make sure I was not missing some dark horse Chandos label treasure.  I have the #7 coupled with #1 (DG/Grand Prix), which is something else.

Right!  Sorry about.  Corrected in my list.

[relm1]

Some of you might enjoy this website for trombone players that compares climactic extracts of various recordings. 

http://www.tromboneexcerpts.org/

Take a look at the Shostakovich Symphony No. 5 link and play through the examples - they are interesting in how interpretations and styles evolve especially over time and regions.  I have played this work (as a bass trombonist) and have a renews appreciation for the truly great performances.  To get that seriously ominous bass trombone sound in the first and last movement, you really need to overblow the instrument otherwise it just sounds tame.  Some interpreters really pulled out all the stops.

[Octave]

By the numbers:

1. Thanks Sarge for the descriptive reply re: Slava's #5.

2. Re: Masur's #13:

What do you think of the famous Masur 13th? It's only 25 cents. (but I won't get it if you say so)

13: Kurt Masur / New York

Leiferkus with Masur is great;  as is Aleksashkin with Jansons.  What's keeping you?!

Just quoting these because they were among the reasons I just bought the Masur several days ago.  I know it will not be my last lucky 13.  I ran across some demurrals about the performance as a whole but I am a fledgling Leiferkus nut so that's that.

3. Karl, have you talked about the Kremer #14 before?  I searched this thread and the Dacha and saw no mention.  I just got Currentzis', so it feels a little soon; but special is special...

[snyprrr]

By the numbers:

1. Thanks Sarge for the descriptive reply re: Slava's #5.

2. Re: Masur's #13:
Just quoting these because they were among the reasons I just bought the Masur several days ago.  I know it will not be my last lucky 13.  I ran across some demurrals about the performance as a whole but I am a fledgling Leiferkus nut so that's that.

3. Karl, have you talked about the Kremer #14 before?  I searched this thread and the Dacha and saw no mention.  I just got Currentzis', so it feels a little soon; but special is special...

Are you saying Masur hasn't arrived yet? Please do chime in- I'll hold off until you do.

Honestly, I've got half a mind to get John Shirley-Quirk in 13 (with Shallon conducting Dusseldorf on Koch). What's your first reaction to that? Possibility- or no?


And- just for the record- I did it again- we'll see- I got the Jarvi 14th. (I can't afford many more failures) gulp




BTW- EVERYONE- I JUST HAPPEN TO HAVE Inbal No.3 HAVE NEVER EVER HEARD MUSIC- SHOULD I- OR SHOULD I NOT? It has the worst reputation of just about any music I can think of. 36 minutes??? One movement? (and- of course- who reigns supreme here?)

[Karl Henning]

3. Karl, have you talked about the Kremer #14 before?  I searched this thread and the Dacha and saw no mention.  I just got Currentzis', so it feels a little soon; but special is special...

Not in much detail:

Incidentally, this may just be my favorite Fourteenth:

Since our snypsss is so particklar about the Malagueña, I did note that I have not heard snappier castanets anywhere else

And the soloists are impeccable.

[North Star]

Not in much detail:

Since our snypsss is so particklar about the Malagueña, I did note that I have not heard snappier castanets anywhere else

And the soloists are impeccable.

Hm. I wouldn't mind having that..
(Hey, Karl, weren't you supposed to write about the Sibelius recordings? )

[Karl Henning]

I've mislaid the Bournemouth Symphony!  I'm lost!