Shostakovich Symphony 10

The good news is this recording of Shostakovich's Eleventh Symphony is in the same class as the best ever made. The even better news is it's the start of a projected series of recordings of all the Soviet master's symphonies. Vasily Petrenko has demonstrated before this disc that he is among the most talented of young Russian conductors with superb recordings of Tchaikovsky's Manfred Symphony and of selected ballet suites. But neither of those recordings can compare with this Eleventh. Paired as before with the Royal Liverpool Philharmonic Orchestra, Petrenko turns in a full-scale riot of a performance that is yet tightly controlled and cogently argued. Said to depict the failed revolution of 1905, Shostakovich's Eleventh is not often treated with the respect it deserves, except, of course, by Yevgeny Mravinsky, the greatest of Shostakovich conductors whose two accounts have been deemed the most searing on record. Until now: Petrenko respects the composer's score and his intentions by unleashing a performance of staggering immediacy and violence, a virtuoso performance of immense drama, enormous tragedy, and overwhelming power.

… you get here is perhaps the best of all worlds: a major symphonic work idiomatically played by a first-rate virtuoso orchestra under the hands of a conductor whose contact with the work looks back to the symphony's very creation, captured in vivid, realistic sound none of the russian maestros mentioned above could ever aspire to.

The baritone Matthias Goerne, the Orchestre Philharmonique de Radio France and Mikko Franck launch a trilogy of Shostakovich’s works for baritone and orchestra with a recording of Symphony No.14. This will be followed by Symphony no.13 (Babi Yar) and the Suite on poems by Michelangelo Buonarroti. The soprano Asmik Grigorian joins Matthias Goerne for this monumental yet highly subtle symphony setting poems by García Lorca, Apollinaire, Küchelbecker and Rilke.

John Storgårds and the BBC Philharmonic continue their survey of Shostakovichis late symphonies with this recoding of the 14th, with Elizabeth Atherton and Peter Rose as soloists. Completed in the spring of 1969, and premiered later that year, the symphony is written for soprano, bass and small string orchestra with percussion, setting eleven linked setting of poems by four authors.

John Storgårds and the BBC Philharmonic continue their survey of Shostakovichis late symphonies with this recoding of the 14th, with Elizabeth Atherton and Peter Rose as soloists. Completed in the spring of 1969, and premiered later that year, the symphony is written for soprano, bass and small string orchestra with percussion, setting eleven linked setting of poems by four authors. Most of the poems deal with the theme of death, particularly that of unjust or early death, and indeed all four of the poets had died prematurely and / or in unnatural circumstances n Wilhelm Kuchelbecker in Siberian exile for his part in the 1825 Decembrist uprising, Federico GarcIa Lorca assassinated during the Spanish Civil War, in 1936, Rainer Maria Rilke of blood poisoning following an accident in 1926 and Guillaume Apollinaire in 1918 during the Spanish influenza pandemic. The Six Verses of Marina Tsvetayeva were composed in 1973, originally for contralto and piano, and subsequently arranged for chamber orchestra (the version we hear here, with Jess Dandy as soloist). The recording was made at Media City in Salford, Manchester, in Surround Sound, and is available as a hybrid SACD and in Spatial Audio.

John Storgårds and the BBC Philharmonic continue their survey of Shostakovichis late symphonies with this recoding of the 14th, with Elizabeth Atherton and Peter Rose as soloists. Completed in the spring of 1969, and premiered later that year, the symphony is written for soprano, bass and small string orchestra with percussion, setting eleven linked setting of poems by four authors. Most of the poems deal with the theme of death, particularly that of unjust or early death, and indeed all four of the poets had died prematurely and / or in unnatural circumstances n Wilhelm Kuchelbecker in Siberian exile for his part in the 1825 Decembrist uprising, Federico GarcIa Lorca assassinated during the Spanish Civil War, in 1936, Rainer Maria Rilke of blood poisoning following an accident in 1926 and Guillaume Apollinaire in 1918 during the Spanish influenza pandemic. The Six Verses of Marina Tsvetayeva were composed in 1973, originally for contralto and piano, and subsequently arranged for chamber orchestra (the version we hear here, with Jess Dandy as soloist). The recording was made at Media City in Salford, Manchester, in Surround Sound, and is available as a hybrid SACD and in Spatial Audio.

John Storgårds and the BBC Philharmonic continue their survey of Shostakovichis late symphonies with this recoding of the 14th, with Elizabeth Atherton and Peter Rose as soloists. Completed in the spring of 1969, and premiered later that year, the symphony is written for soprano, bass and small string orchestra with percussion, setting eleven linked setting of poems by four authors.

Even though Dmitry Shostakovich's Symphony No. 1 in F minor was an academic exercise from his teens, and the Symphony No. 3 in E flat major, ("The First of May"), a reflection of the avant-garde experimentation of the early Soviet period, these youthful works reveal salient characteristics of his personality that repeatedly surfaced in the later symphonies and should be considered as fully a part of the cycle. Shostakovich's expressions range from sardonic and brooding moods in the First to the energetic and violent activity of the Third, and these qualities are accurately conveyed in Vasily Petrenko's performances with the Royal Liverpool Orchestra, with the ensemble's choir included in the triumphal finale of the Third. The recordings have a wide audio range, so the extreme dynamics of Shostakovich's music can be heard with minimal adjustment of the volume. That said, much of the music is extremely quiet and eerily thin in texture, so attentive listening is required. But the fortissimos are everything they should be, and Petrenko elicits full sonorities from the orchestra.