Shostakovich Orchetral

The prospect of hearing Alina Ibragimova in two of the most important concertos written for the violin is in itself irresistibly enticing, but Shostakovich aficionados will also welcome an opportunity to hear the rarely performed original opening to the Burlesque of No.1, subsequently made less fearsome for the soloist at the request of the work's dedicatee, David Oistrakh.

The origins of this album – the Artemis Quartet’s first recordings of Shostakovich – lie in the ensemble’s long-established relationship with the great pianist Elisabeth Leonskaja. For years, the quartet had been wanting to record the Russian composer’s Piano Quintet with her. It is coupled with Quartets No 5 and No 7, multi-faceted works which are expressive of the composer’s private persona.

The 1st and 9th complement each other perfectly, and this original pairing of the 9th with an equally fine performance of the 1st is a delight. The playing and acoustic of the Philharmonic is not as glorious as that of the Concertgebouw in some of Haitink's other Shostakovich recordings, but they acquit themselves quite well, capturing equally the light and the gloom, playfulness and tragedy, lyricism and satire that run through these both works.

Composed against a cataclysmic backdrop of Stalinist oppression and the Second World War, Shostakovich's Symphony No.8 is a deeply affecting poem of suffering. The composer described it as, ''an attempt to reflect the terrible tragedy of war,'' and it contains some of the most terrifying music he ever wrote. Here, Gianandrea Noseda conducts the London Symphony Orchestra with intensity and understanding, allowing the music to tell its own story as it travels from darkness into light, yearning more for peace than for victory.

Shostakovich's Cello Sonata belied the young composer's reputation as the 'enfant terrible' of early Soviet music. Steven Isserlis's praises it as ''the most popular cello sonata of the twentieth century.'' It features on this program alongside two other Russian masterpieces from pre-Revolutionary Prokofiev and Khrushchev era Kabalevsky.

Continuing AVIE’s acclaimed and influential series of recordings of the music of Austrian émigré Hans Gál, this latest release brings together two of today’s most eminent Gál interpreters, Sarah Beth Briggs and Kenneth Woods with violin virtuoso David Juritz for a recording of Gál’s breathtakingly lyrical Piano Trio in E major and his witty Variations on a Popular Viennese Tune. Gál’s music and destiny was shaped by war and political upheaval, as was that of Dmitri Shostakovich, whose Piano Trio in E minor, one of the monuments of 20th century chamber music, is a harrowing souvenir of the times in which it was written.

This award-winning disc features the prodigious talent of 20-year-old Maxim Vengerov, the clarity of interpretation of 67-year-old Mstislav Rostropovich, and two brilliant concertos by the two greatest Russian composers of the 20th century. Vengerov plays a 1727 "Reynier" Stradivarius violin in both works, and the total effect is wondrous.

These pre-Chicago recordings of Fritz Reiner with the Pittsburghers is a reminder of his greatness as a conductor. It also restores to the catalog his recordings of some composers he wasn't closely identified with. Shostakovitch, for example, wasn't a regular on Reiner's studio schedule, but should have been, for this Sixth bristles with sardonic wit and energy. The Kodaly Dances, of course, were right up Reiner's alley, and get a smashing performance. The shorter works too, are first class, especially the Bart243;k Hungarian Sketches and another Reiner calling card, Kabalevsky's Colas Breugnon Overture. Weiner's string Divertimento is charming, but the real prize may be Glinka's Kamarinskaya, given a peformance that shimmers and glistens with delicacy and life. Sony's restoration of the 1945-1947 recordings is faultless.

A slightly curious compilation (two Russian performances dating from 1962, one English from 1976) but an attractive one, and very good value. I had not heard the Gabrieli's Tchaikovsky before, and liked it a great deal: properly chamber-scale, in colour as well as tone of voice, and nice underlining of the lyricism in even Tchaikovsky's most exuberant pages.

Having had the privilege of seeing the Hagen's perform Shostakovich's 3 rd Qrt back in the 1999 ( i think it was) at the Wigmore hall - the Hagen's have been one of the younger generation of Quartets that ranked amnong the finest exponents of DSCH's complex , searing music.