This is one of the most distinguished work of Shostakovich, and tells about "1905 Revolution" (09.01.1905). 2, 7 & 8 – Pavel Haas Quartet, Review: Bartók – Concerto for Orchestra, Suite No. By contrast, his Eleventh, which followed four years later frequently gets a bad press, because it is perceived to be too programmatic, repetitive and populist. We might wonder if shades of Liszt’s Mazeppa infiltrate the action. 11 recalled the events of series of worker strikes in St. Petersburg, Russia, that crippled the city. Both Nelsons and Storgårds add almost 4 minutes to Petrenko’s overly quick reading (13’46”), using the extra time to create a more foreboding atmosphere. The pertinent questions with Shostakovich's Eleventh, however, are not "how impressive is the performance" and "how imposing is the recording," but "how honest is the performance" and "how real is the recording?" 11 is one of Shostakovich’s less multi-dimensional symphonies, the range of interpretations it has yielded is surprising. Please Subscribe to our New channel @PAINTED. Shostakovich's Symphony No 11 is a remarkable piece with a powerful statement and it's brilliantly orchestrated by the BBC Philharmonic. From the start, critical opinion has been split on Shostakovich's Symphony No. Shostakovich utilizes a constant shift of major and minor to add an undercurrent ambivalence as to the effectiveness of any “triumph.” Jurowski elicits mighty tuttis that broil up from the LPO, especially as tolling bells on G in both major and minor thirds leave the Russian soul devastated of any faith in the “divine right” of monarchs. AUDIOPHILE AUDITION is a free international online magazine for audio buffs, record collectors and music lovers. Even as his professional fortunes rose, his personal life was tragic and confused. Shostakovich’s Tenth Symphony, written in the aftermath of the death of Stalin is widely regarded as his greatest orchestral work, and a masterpiece of the twentieth century. All Rights Reserved. The liner notes all suggest a theme of defiance in the final movement, and the headlong rush of the Petrenko and Nelsons performances make that defiance seem almost machinelike and bloodless. Is it propaganda? Storgårds somehow engenders a more human and optimistic feeling, and the clanging bells are thrillingly caught (the conductor uses four church bells rather than the standard orchestral tubular bells). 103: II. On that fateful day, the Tsar’s palace guards gunned down 200 unarmed demonstrators – a procession of workers led by Orthodox priest George Gapon to deliver a petition to the Tsar – outside of St. Petersburg’s Winter Palace. The epic violence breaks off to leave us a winter scene, a kind of delicate silhouette of the opening, now beset by ghosts. The Chandos soundstage has both, and that adds a glow and warmth to the orchestra that is lacking in the DG recording. 11 in G minor, Op. The Classic Review was launched in 2018 for classical music lovers around the globe. Allegro (The 9th of January)" and more. Listen to the biting exchange between brass and lower strings at 2’10”, which then builds to a tremendous climax at 2’36”. 11 in G minor, Op. These questions have, to some extent, been answered in the last 12 years by two recordings that mined a heretofore undiscovered profundity from the score: The Royal Liverpool Philharmonic led by Vasily Petrenko on Naxos, and the Boston Symphony Orchestra led by Andris Nelsons, part of their ongoing cycle for DG. 11 In G Minor, Op. Shostakovich's Symphony No. It covers classical music reviews, as well as in-depth guides and classical music news. Revolution On the morning of Sunday 9th January 1905, thousands of Russians gathered in front of the Winter Palace in St Petersburg. The percussion invokes recollections of the opening movement, augmented in color by the English horn. Both performances feature exceptional playing and flowing tempos (Petrenko 57’37” and Nelsons 62’39”) that give the work a coherent symphonic structure. Jurowski builds this grueling movement slowly to a fierce climax in tympani, anguished strings, and brass, rife with a vengeful aspect that must have burned in the hearts of a wounded populace. 103 ("The Year 1905"). 11 – London Philharmonic Orchestra/ Vladimir Jurowski – London Philharmonic, Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window). The next build-up begins at 11’59” as the snare drum suggests gunfire while the strings begin one of those unrelenting marches that so often feature in Shostakovich’s symphonic writing. The spirit of revolution is infused into the fabric of Shostakovich's 11th Symphony, from its opening notes to its final closing breaths. The orchestral playing is vividly intense, the trombone glissandos (13’55”) snarling out the rage of the protestors, leading into a shattering climax as the soldiers slaughter them. 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