Myaskovsky/Shostakovich Chamber Symphonies
View record and artist detailsRecord and Artist Details
Composer or Director: Nikolay Myaskovsky, Dmitri Shostakovich
Label: Naxos
Magazine Review Date: 4/1999
Media Format: CD or Download
Media Runtime: 55
Mastering:
DDD
Catalogue Number: 8 550953
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Tracks:
Composition | Artist Credit |
---|---|
Sinfonietta |
Nikolay Myaskovsky, Composer
Dalgat String Ensemble Nikolay Myaskovsky, Composer Roland Melia, Conductor |
String Quartet No. 8 |
Dmitri Shostakovich, Composer
Dalgat String Ensemble Dmitri Shostakovich, Composer Roland Melia, Conductor |
Author:
The second of Miaskovsky’s sinfoniettas is currently unlisted on the Gramophone Database, although there has been at least one coupling of the two works (Claves, 2/95 – nla) and readers may be familiar with No. 1 from its appearance as a makeweight for Miaskovsky’s Symphony No. 27 (Olympia – nla). With neither the hysteria and Angst of the Sixth Symphony nor the melodic inspiration and intense nostalgia of the Cello Concerto, this is, I’m afraid, a desperately dull piece. The score may be competently wrought, but it comes across as utterly impersonal, with a restricted harmonic vocabulary and not a single decent tune. There is a certain wistful charm in the second movement – a sort of massively diluted Prokofiev dance number – and that’s about it. The conductor’s previous Miaskovsky disc (ASV, 10/95) contained the marginally more engaging First Sinfonietta so he must find the idiom congenial. Even if high-lying string lines are not always ideally secure, the present performance cannot be blamed for the pallid impression made by the music, and the St Petersburg recording is fully acceptable.
In the now crazily ubiquitous Barshai arrangement of the most ‘autobiographical’ of Shostakovich’s quartets, Melia favours a dirge-like tread to make the rival bargain-basement version appear positively sprightly. The Naxos booklet-notes make more sense than Arte Nova’s, the coupling rather less so.'
In the now crazily ubiquitous Barshai arrangement of the most ‘autobiographical’ of Shostakovich’s quartets, Melia favours a dirge-like tread to make the rival bargain-basement version appear positively sprightly. The Naxos booklet-notes make more sense than Arte Nova’s, the coupling rather less so.'
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