Composer: Dmitri Shostakovich
Performer: Yefim Bronfman, Hannes Läubin
Orchestra: Symphonie-Orchester des Bayerischen Rundfunks
Conductor: Mariss Jansons
Format: FLAC (tracks)
Label: BR Klassik
Catalogue: 900202
Release: 2022
Size: 422 MB
Recovery: +3%
Scan: yes
Concerto in C Minor for Piano, Trumpet, & String Orchestra, Op. 35 (Live)
01. I. Allegretto
02. II. Lento
03. III. Moderato
04. IV. Allegro con brio
Symphony No. 9 in E flat major, Op. 70 (Live)
05. I. Allegro
06. II. Moderato
07. III. Presto
08. IV. Largo
09. V. Allegretto
“Increasingly, Shostakovich’s music is captivating people all over the world and appealing to their deepest emotions. Almost like no other, it bears witness to a traumatic political epoch while remaining a timeless expression of existential human feeling and experience. For me personally”, said conductor Mariss Jansons, who died two years ago, “Shostakovich is one of the most serious and sincere composers of them all”.
BR-KLASSIK is releasing here two more outstanding performances by this important Soviet-Russian composer: his impressive Concerto for Piano, Trumpet and String Orchestra, and his Ninth Symphony – performed live by the Symphonieorchester des Bayerischen Rundfunks under its long-time principal conductor Mariss Jansons.
Shostakovich’s (first) Piano Concerto features impressive pianistic virtuosity, bold experimentation, satire, and caricatures of different musical styles. The composer wrote it in the summer of 1933, only a few weeks after the completion of his opera Lady Macbeth of Mtsensk. This concerto in particular demonstrates the immense versatility and magnificent talent of the still carefree 26-year-old Shostakovich. He blends a wealth of musical thoughts and ideas into a colorful and fascinating kaleidoscope. Despite the wealth of different stimuli, the concerto does not seem chaotic or overloaded: the young composer effortlessly maintains the balance.
Shostakovich performed a similar balancing act between creative work and conformity to the state in his Ninth Symphony, which premiered on November 3, 1945. Instead of the expected heroic, regime-conformist orchestral thunder along the lines of his Seventh Symphony, the “Leningrad”, the music heard here was playful, without pathos, somewhat witty, full of allusions – yet something did not seem quite right. This musical conundrum, full of ironic refractions and caricatures of melodramatic and triumphant music, was recognized by the censors as a masquerade, yet one that was not easily decipherable. Shostakovich had mocked Stalin without the latter noticing.