Shostakovich Symphonies Nos 2 and 12
Mariss works his magic.
View record and artist detailsRecord and Artist Details
Composer or Director: Dmitri Shostakovich
Genre:
Orchestral
Label: EMI Classics
Magazine Review Date: 2/2006
Media Format: CD or Download
Media Runtime: 0
Mastering:
Stereo
Catalogue Number: 335994-2
Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 2, 'To October' |
Dmitri Shostakovich, Composer
Bavarian Radio Symphony Orchestra Dmitri Shostakovich, Composer Mariss Jansons, Conductor |
Symphony No. 12, 'The Year 1917' |
Dmitri Shostakovich, Composer
Bavarian Radio Symphony Orchestra Dmitri Shostakovich, Composer Mariss Jansons, Conductor |
Composer or Director: Arnold Schoenberg, Pyotr Ilyich Tchaikovsky
Genre:
Orchestral
Label: Sony Classical
Magazine Review Date: 0/0
Media Format: CD or Download
Media Runtime: 76
Mastering:
Stereo
DDD
Catalogue Number: SK93537
Tracks:
Composition | Artist Credit |
---|---|
Verklärte Nacht, 'Transfigured Night' |
Arnold Schoenberg, Composer
Arnold Schoenberg, Composer Bavarian Radio Symphony Orchestra Mariss Jansons, Conductor |
Symphony No. 6, 'Pathétique' |
Pyotr Ilyich Tchaikovsky, Composer
Bavarian Radio Symphony Orchestra Mariss Jansons, Conductor Pyotr Ilyich Tchaikovsky, Composer |
Composer or Director: Antonín Dvořák, Bedřich Smetana
Genre:
Orchestral
Label: Brilliant Classics
Magazine Review Date: 2/2006
Media Format: CD or Download
Media Runtime: 131
Mastering:
Stereo
DDD
Catalogue Number: 92779
Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 5 |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Mariss Jansons, Conductor Oslo Philharmonic Orchestra |
Symphony No. 7 |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Mariss Jansons, Conductor Oslo Philharmonic Orchestra |
Symphony No. 8 |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Mariss Jansons, Conductor Oslo Philharmonic Orchestra |
Symphony No. 9, 'From the New World' |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Mariss Jansons, Conductor Oslo Philharmonic Orchestra |
Othello |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Mariss Jansons, Conductor Oslo Philharmonic Orchestra |
Scherzo capriccioso |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Mariss Jansons, Conductor Oslo Philharmonic Orchestra |
Má vlast, Movement: Vltava, B111 (1874) |
Bedřich Smetana, Composer
Bedřich Smetana, Composer Mariss Jansons, Conductor Oslo Philharmonic Orchestra |
Composer or Director: Rodion Konstantinovich Shchedrin, Igor Stravinsky
Genre:
Orchestral
Label: Sony Classical
Magazine Review Date: 0/0
Media Format: CD or Download
Media Runtime: 53
Mastering:
Stereo
DDD
Catalogue Number: 82876 703262
Tracks:
Composition | Artist Credit |
---|---|
(The) Firebird Suite |
Igor Stravinsky, Composer
Bavarian Radio Symphony Orchestra Igor Stravinsky, Composer Mariss Jansons, Conductor |
Concerto for Piano and Orchestra No. 5 |
Rodion Konstantinovich Shchedrin, Composer
Bavarian Radio Symphony Orchestra Denis Matsuev, Piano Mariss Jansons, Conductor Rodion Konstantinovich Shchedrin, Composer |
Composer or Director: Benjamin Britten, Anton Webern, Jean Sibelius
Genre:
Orchestral
Label: Sony Classical
Magazine Review Date: 0/0
Media Format: CD or Download
Media Runtime: 70
Mastering:
Stereo
DDD
Catalogue Number: SK93538
Tracks:
Composition | Artist Credit |
---|---|
(The) Young Person's Guide to the Orchestra |
Benjamin Britten, Composer
Bavarian Radio Symphony Orchestra Benjamin Britten, Composer Mariss Jansons, Conductor |
Symphony No. 1 |
Jean Sibelius, Composer
Bavarian Radio Symphony Orchestra Jean Sibelius, Composer Mariss Jansons, Conductor |
Im Sommerwind |
Anton Webern, Composer
Anton Webern, Composer Bavarian Radio Symphony Orchestra Mariss Jansons, Conductor |
Composer or Director: Igor Stravinsky, Sergey Rachmaninov
Genre:
Orchestral
Label: RCO Live
Magazine Review Date: 2/2006
Media Format: Super Audio CD
Media Runtime: 69
Mastering:
Stereo
DDD
Catalogue Number: RCO05004
Tracks:
Composition | Artist Credit |
---|---|
Petrushka |
Igor Stravinsky, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Igor Stravinsky, Composer Mariss Jansons, Conductor |
Symphonic Dances (orch) |
Sergey Rachmaninov, Composer
(Royal) Concertgebouw Orchestra, Amsterdam Mariss Jansons, Conductor Sergey Rachmaninov, Composer |
Author: David Gutman
Stravinsky's Petrushka was among the works with which orchestra and chief toured in 2005 while Rachmaninov's Symphonic Dances have long been a Jansons (if not a Concertgebouw) speciality. I can't think of a contemporary conductor with a more instinctive feeling for them, though whether this live Rachmaninov represents an advance on his marginally more deft, timbrally distinctive St Petersburg recording for EMI (12/93) is a moot point. In Amsterdam, the score's ambiguous final gong-stroke is again left to resonate, only this time well deserved applause intervenes.
The new Petrushka is typically refined, less a psychodrama for puppet characters with real-life emotions than a bejewelled showpiece with a softish grain and a distant solo piano. The wealth of fine detailing includes a couple of features that could grate on repetition. The rousing thematic statement from 0'54" comes peppered with distinctly apocryphal accents. Jansons also does something strange to the 'Moor and Ballerina's Waltz' (track 5), separating off the first note of the bassoon figure to underline the awkwardness of the ménage, a special effect loosely derived from the notation of the 1911 version.
I won't pretend that the ballet's closing stages project the terror evoked by more interventionist conductors like Leonard Bernstein or Sir Simon Rattle, yet every textural strand is given its own colour and character. While the performers' lucidity is not matched by RCO's booklet-note and track-listing, it's pleasing that some of the orchestra's brightest stars receive a name check, not least Emily Beynon, principal flute. Jansons gives her the space to excel.
The three Sony Classical productions turn out to be a sort of 'Bavarian RSO Live' by another contractual route, some arriving with, some without English-language annotations. The uneven sound reflects the use of different venues. The Shchedrin/Stravinsky CD, offering the shortest measure, is possibly the most intriguing and, in Denis Matsuev, can boast an exceptional soloist too. During his Pittsburgh tenure, Jansons recorded a whole disc of Shchedrin for retail through the orchestra's website. Although the composer has flirted with full-blown modernism, he has usually written the kind of approachable new music Jansons himself espouses through his involvement with Masterprize.
Jansons's joie de vivre raises the stakes here. Always a supremely attentive accompanist, something in his musical personality makes Shchedrin's crafty mélange of Russian-Soviet influences work better than it should. The Firebird Suite is more typical of the way I hear the conductor's music-making -eminently lucid, with many an unearthed detail to titillate the ear, yet ultimately lacking a little heart.
Schoenberg and Tchaikovsky make strange bedfellows but if the union suits, why hesitate? The Schoenberg Verklärte Nacht showcases the exceptional beauty of the Bavarian strings in a performance with few peers in the current catalogue. The Tchaikovsky may not approach the quality of the Fourth that Jansons brought to the BBC Proms in 2003 with the Pittsburgh Orchestra but it makes a useful souvenir of last season's Bavarian Pathétique. Key traits are the band's Rolls-Royce sonority and the conductor's trademark fondness for subito piano tricks and larger-than-life timpani fills.
The same lack of emotional clout pervades the Sibelius, rather tired-sounding towards the end. Only the Britten could fairly be described as routine, not helped by less than sympathetic close-up miking.
The premium nature of EMI's Shostakovich brings gorgeous sonic lustre and superior presentation with notes by our number one Shostakovich scholar, David Fanning. Neither piece is among the composer's greatest, unavoidably enmeshed with matters ideological. The Second dates from a period when there was no natural incompatibility between agitprop and avant-garde. Jansons deploys a genuine factory whistle though it sounds nasal and his choir is overly refined. By contrast the Twelfth is by nature forced, even crude: Jansons does what he can in this penultimate instalment of his intégrale.
His acclaimed (1989) account of Dvorák's Fifth, not long reissued in EMI's Encore livery, pops up again in a super-budget Dvorák box. The New World, lively and clean if less personalised than the one he recently turned in for RCO Live, lacks its first-movement exposition repeat. There's Smetana's Vltava but no Sixth. Does it matter? Not at this price!
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