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SHOSTAKOVICH, D.: Symphonies, Vol. 1 - Symphony No. 11, "The Year 1905" (Royal Liverpool Philharmonic, Petrenko)

Composer(s):Shostakovich, Dmitry
Artist(s) Petrenko, Vasily, Conductor • Royal Liverpool Philharmonic Orchestra
Period(s) 20th Century
Genre Classical Music
Category Orchestral
Catalogue 8.572082
Label Naxos
Quality   320kbps
Album Price
 
FLAC
USD 7.99
 

 
MP3
USD 6.99
 

 


Charismatic young conductor Vasily Petrenko launches his Shostakovich Symphonies series with the Eleventh, a highly charged depiction of the ‘Bloody Sunday’ massacre of over two hundred peaceful demonstrators by Czarist soldiers outside the Winter Palace in St Petersburg in 1905. Scored for a sizeable orchestra of triple woodwind, four horns, three each of trumpets and trombones, tuba, timpani, percussion, celesta, harps and strings, the Symphony makes extensive use of revolutionary songs as thematic elements, as it progresses, without pause, from the glacial opening movement, Palace Square, to the terrifying massacre and its aftermath, The Ninth of January, the funereal third movement, Eternal Memory, and the final movement, The , which culminates with cataclysmic bell strokes.

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Review By Record Geijutsu,March 2011


8.572082_Geijutsu_032011_JP.pdf


Review By Thomas Schulz,Fono Forum,January 2010


8.572082_Fono Forum_012010_gr.pdf


Review By Stephen Estep,American Record Guide,July 2009

This is one of the best recordings I’ve heard of this piece; it almost makes up for Paavo Jarvi and the Cincinnati Symphony not making a recording of their terrific performance a few years back. In I, Petrenko avoids the plodding tempo and timpani and the fragmented, out-of-tune brass playing in the Barshai (N/D 2004). The tempo is suitable. I find that Bychkov (Berlin Philharmonic, J/A 1989) sounds too slow, though he matches Mravinsky’s timing closely; Mravinsky just creates an unmistakable realism that cuts through the tempo and poor sound, and the six snare drum hits halfway through the movement have more oppression in them alone than others can conjure in entire movements. The Overview (J/F 2006) tells us Bychkov “seems too fast to some”. If

II is vicious—not a hint of the proverbial British over-refinement here. It doesn’t quite match up to Bychkov towards the end of the massacre section; but the end of the movement, with the frozen wind trembling over the still-warm corpses, is spot-on. The brass are bureaucratically menacing. III, ‘Eternal Memory’, has moved me to tears several times over the last month of listening. IV is tormented, screaming and agonizing.

It irks me that I have less to say about this record than any I’ve reviewed so far, but I can find so little to pick at, and it simply leaves me speechless. The sound is very good, though not quite as reverberant as I’d like…but don’t miss this one.

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Review By David Denton, Naxos,March 2009

No Shostakovich symphony cycle could dream of achieving such an auspicious beginning, Vasily Petrenko one of the great young conductors of this new century. From the quiet unease of early morning in the Palace Square, the wind gently blowing leaves around, you can smell the outcome of this 1905 ‘Bloody Sunday’ massacre. As the symphony unfolds Petrenko does not spare his Liverpool musicians with tempos that the Leningrad Philharmonic in their heyday would have found daunting. As the side-drum launches that bloody scene, you would imagine it be a suicidal pace, but nowhere on disc has this scene of panic, mayhem and viciousness been so potently captured. The sudden hush that brings it to an end is chilling in its desolation. Petrenko does not burden the

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