Listened to Shosty 5 this morning with Klaus Makela/Oslo Phil. Without even trying, Jaap gets a much weightier and darker sound out of his orchestra. Makela also removes many of the cymbal crashes at the coda of the finale. Amsterdam and Chicago both really blew it by not trying to get Jaap van Zweden instead.
Interesting how the conductor here takes the finale's final moments so rapidly, while Rostopovich, (a personal friend of Shosty) takes the same music at an almost Largo-like tempo. These variations in tempi astound myself. Incidentally, "Largo" was Shostakovich’s favorite word for any slow movement. I personally don't believe such a slow pace, such as the one Rostopovich took, was properly assigned for the most glorious bombast which is this work's finale.
Makela is a superficial lightweight. If you only listen but not watch he is unimpressive. He seems more concerned with his own visual histrionics and does not manage to create drama or draw anything original & thought provoking from his orchestras. Everything i have seen him do, i have seen others do better & more movingly. Maybe in another 20 years he might make it - when he's lived a bit. Jaap v Z appears totally "in the music" and conducting from the heart, the opposite of KM.
@@IloveChrome846 Kurt Sanderling's/BSO largo is very slow and anguished, but has a fast final (Allegro) movement - very fast at the start. He's making a point and it works.
![回復ポコロンキャラ無しでも勝てる！なぞり方、考え方解説ブレポコガタノソア編最終章マップ４（VSクリスタリア）徹底攻略解説！[ポコダン]](http://i.ytimg.com/vi/XLdxB8RrQKE/mqdefault.jpg)
Listened to Shosty 5 this morning with Klaus Makela/Oslo Phil. Without even trying, Jaap gets a much weightier and darker sound out of his orchestra. Makela also removes many of the cymbal crashes at the coda of the finale. Amsterdam and Chicago both really blew it by not trying to get Jaap van Zweden instead.
Interesting how the conductor here takes the finale's final moments so rapidly, while Rostopovich, (a personal friend of Shosty) takes the same music at an almost Largo-like tempo. These variations in tempi astound myself.
Incidentally, "Largo" was Shostakovich’s favorite word for any slow movement. I personally don't believe such a slow pace, such as the one Rostopovich took, was properly assigned for the most glorious bombast which is this work's finale.
Makela is a superficial lightweight. If you only listen but not watch he is unimpressive. He seems more concerned with his own visual histrionics and does not manage to create drama or draw anything original & thought provoking from his orchestras. Everything i have seen him do, i have seen others do better & more movingly. Maybe in another 20 years he might make it - when he's lived a bit. Jaap v Z appears totally "in the music" and conducting from the heart, the opposite of KM.
@@IloveChrome846 Kurt Sanderling's/BSO largo is very slow and anguished, but has a fast final (Allegro) movement - very fast at the start. He's making a point and it works.