Shostakovich Fuga

There is a tradition among Russian composers to write an elegiac trio in memory of a departed friend. It is Tchaikovsky who first introduced this tradition with his grandiose trio in A minor dedicated to Nikolay Rubinstein. Dmitry Shostakovich carried this tradition into the twentieth century with his Trio No. 2 in E minor, Op. 67, dedicated to the memory of his closest friend the musicologist Ivan Sollertinsky. These are the two telling works performed here in their premiere recording by the Rachmaninoff Trio de Montréal

Wow! This is music making on a cosmic scale. You may hear some jaded critic offer up the following generic comment about this release: "These three players, gathered together for only the second time, naturally can't equal the subtle give and take of more established chamber ensembles." Bull. All three artists rank among the most inspirational and experienced chamber players of our time, and here they set the notes on fire in performances of shattering intensity, improvisational spontaneity, and (in the Tchaikovsky) Herculean grandeur. Argerich's performance of the concerto-like piano part of the Tchaikovsky Trio is especially impressive; she seems to know instinctively when to dominate the proceedings and when to let her partners take over; and the final "Theme and Variations"–a huge movement half an hour in length–seldom has sounded so cohesive and meaningful. As to the Shostakovich, well, what can I say? This is one of the most profoundly moving experiences in music, and how well this trio knows it! The three players find the perfect tempo for the third movement Passacaglia, then build the tragic finale as inexorably as fate itself.

The first Album by the philharmonie zuidnederland was of works by Wagner and Tchaikovksy, under their chief conductor Dmitri Liss; this second album promises to be even more spectacular. The principal work, Shostakovich’s Tenth Symphony, caused rapturous enthusiasm in a previous live performance and is very close to Liss’ own heart. Liss tells of the symphony’s première shortly after the death of Stalin in 1953: “In those days, it was extremely hazardous to reveal too much of yourself in a piece of music. Shostakovich was able to manage it and for that he has my lasting and increasing admiration. I come closer to the music’s heart each time I conduct this symphony”. The CD also includes an energetic live performance of Olga Victorova’s Quinlong Azure Dragon. This work too is close to Liss’ heart, as is the composer herself – Victorova is his wife. One more reason for philharmonie zuidnederland to pull out all the stops as they perform this work about a renowned Oriental dragon as well as Shostakovich’s masterpiece with passion and fire.

The recordings, made by Bavarian Radio between 2001 and 2005, are, if anything, classier still, with equally classy annotations by Shostakovich scholars Frans Lemaire and David Fanning.
Since fact and speculation are for once carefully defined, you won't see here the incautious revisionism of so much Shostakovich commentary.

The seventh album by Lucas and Arthur Jussen at Deutsche Grammophon presents music for two pianos by Rachmaninov, Stravinsky, Shostakovich and Arensky. 'It's like driving a few BMWs', remarked conductor Michael Schønwandt after conducting Dutch brothers Lucas (26) and Arthur Jussen (22). Despite their young age, they have been part of the international concert world for years and are praised by both the press and the public. Not only did their albums have received platinum and gold status, they won several Edison Klassiesek Audience Awards, among others. With the album, the long-planned project to record an album with a beautiful, powerful and technically demanding Russian repertoire is now coming true.