Shostakovich's Symphony No.8 was written in the summer of 1943, and first performed in November of that year by the USSR Symphony Orchestra under Yevgeny Mravinsky, to whom the work is dedicated. Many scholars have ranked it among the composer's finest scores. Some also say Shostakovich intended the work as a ''tragedy to triumph'' symphony, in the tradition of Beethoven, Brahms and Mahler. This release in Praga's Reminiscences series of audiophile SACD remasterings features an historic live recording from 1961 featuring Mravinsky leading the Leningrad Philharmonic.
Fans of the string quartets by Beethoven, Schubert, Schumann, and Mendelssohn should by all means try this disc of string quartets by George Onslow. British-born and Bohemian-trained composer spent most of his career in France, and aside from their tonal language and their four-movement structure, his quartets have little in common with his German contemporaries. In fact, they have little in common with the music of his French contemporaries, who concentrated mostly on stage works. But in these overwhelming persuasive performances by the Quatuor Diotima, Onslow's quartets come across as fully formed, wholly confident, and enormously expressive works. There is tremendous power in the fast movements: the rip-roaring Scherzo, from his D minor Quartet, Op. 55; immense pathos in the slow movements: the heartbreaking Andante con variazioni from the E flat Quartet, Op. 54; and awesome intensity in the opening movements: the monumental Allegro maestoso ed espressivo from the C minor Quartet, Op. 56.
The Beethoven Triple Concerto is a strange work, with the most important–-or at least prominent–-solos given to the cello; it is the instrument which introduces each movement. The remarkable Martha Argerich wisely allows Mischa Maisky to shine in his solos and leading position, but her contribution is anything but back seat. Her customary virtuosity is everywhere in evidence, and, in a way, she turns the piano into the spinal column of the work, with the violin and cello playing around her. Every time Maisky is about to lapse into a mannerism which might detract–-too much sliding, a dynamic slightly exaggerated–-Argerich brings him back, and both of them play with handsome tone. Capucon's violin is recorded a bit stridently (this was taped live in Lugano), but his playing is equally stunning. Alexandre Rabinovitch-Barakovsky leads the orchestra matter-of-factly until the final movement, when he catches the proper fire. In the Schumann A minor concerto Argerich is wonderful the solo passages and a fine partner in orchestrated ones and she really makes much of both the lyrical runs and the dance-like passages in the last movement. Recommended.
Krenek's symphony no 3 is a full-sized symphony at nearly forty-five minutes, in three movements, the first about twenty-four minutes long. Even so, this symphony is much more modest in length or requirements than the Second. The three movements are (1) Andante sostenuto; Allegro deciso (2) Adagio molto (3) Allegretto comodo. The style of the symphony is an updated version of Gustav Mahler's, including the sudden intrusion of a banal tune at a moment of crisis close to the end of the first movement. By comparison with the Second Symphony, this is a much more orderly and logical work. The outlines of the forms of its movements are clear, and the work is cyclic (materials from earlier movements are used in later ones). At the end the mood and material for the opening returns.
: This is a transfer from analog cassette tape to digital. A very rare opportunity to hear a young Virssaladze. My intention in posting this is to give our Russian friends the opportunity of listening to one of their co-nationals on a South American Tour in Buenos Aires during 1976. The announcer is the official Radio Municipal de Buenos Aires broadcast from the theatre on the day of the concert.
Haydn wrote the six quartets of Opp 54 and 55 in 1788, by now a celebrated composer across Europe and still opera Kapellmeister at Esterházy. These period instrument players, whose very name declares their affinity for Haydn, excel in the latest in their Hyperion series. Ever spry in fast movements, faultless in dexterity and intonation, they find a special warmth of feeling in the slower moments: the songful Adagio Cantabile of Op 55 No 1, the puzzling, melancholy Andante of Op 55 No 2, the dark, hymn-like first bars of Op 54 No 2’s Adagio, out of which the violin soars in almost improvised, bluesy reverie. Too many pleasures to enumerate. Try for yourself.