Dmitri Shostakovich (1906-1975) Symphony No. 5 by Kirill Kondrashin / Remastered. 🎧 Qobuz bit.ly/3LoKE6B Apple Music apple.co/3M9PaGu 🎧 Amazon Music amzn.to/42bRMcx Tidal bit.ly/3Lt2XaE 🎧 Deezer bit.ly/3yGZmyc Spotify spoti.fi/42fJ8JZ 🎧 RUclips Music bit.ly/3lmJTAn SoundCloud bit.ly/3JgX7qe 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … 00:00 Symphony No. 5 in D minor, Op. 47 - I. Moderato, Allegro non troppo, Moderato 13:37 Symphony No. 5 in D minor, Op. 47 - II. Allegretto 18:55 Symphony No. 5 in D minor, Op. 47 - III. Largo 31:04 Symphony No. 5 in D minor, Op. 47 - IV. Allegro non troppo, Allegro Moscow Philharmonic Orchestra Conductor: Kirill Kondrashin Recorded in 1964 New mastering in 2023 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr Symphony No 5 in D Minor, op.47 (1937). First performance: 21st October, 1937 by the Leningrad Philharmonic Orchestra (Conductor: Evgeny Mravinsky).The atmosphere which reigned during the first performance of the symphony was particularly tense according to various witnesses. In political terms, this was the darkest, most terrifying period of the trials and purges. Stalin was not only getting rid of his enemies, but 'cleansing' Society at every level. The Country's political leaders were waiting for a chance to catch Shostakovich out. The public, whose emotions were running high, were wondering how the Composer would cope with the situation and what the limits of his concessions would be in this new work, which had a "programme": "the artist's reply to justified criticism", in the form of an 'autocritique'. For had one not been seeing for months, even years, during the Trials, well-known people criticising themselves with a particularly keen humility? It went without saying that the "programme" would be removed after de-Stalinisation. The language of this Symphony is indeed much simpler than that of its predecessors, although it bears a certain thematic relationship to the 4th. In form and length however, it conforms more closely to the classico-romantic mould. However, it made an impression on the public, a very great impression, at its famous "première" and no-one could mistake the heartrending depth of the Largo which revealed the Composer's feelings about the new tragedy the Russian people were experiencing. The first movement, Moderato, opens with a beautiful, very lyrical theme in the lower strings, developed by the violins. The atmosphere soon becomes heavy, however. A kind of sad lullaby is heard in the distance on the bassoon and clarinet. It comes closer and then recedes. The outline of a second theme is heard in the strings and is then taken up by a solo flute before the strings return to the first theme again. The second theme reappears in an atmosphere which is still melancholy and suddenly becomes louder (brass and piano). Irony is heard in the false cheerfulness of a general acceleration which develops to a racing rhythm before bursting open, heavy and oppressive. A strident xylophone joins in. A Mahlerian apotheosis culminates in an atmosphere which has become tragic and the second theme, hammered out like a question by the percussion reverberates then gradually fades away into the melancholy distance played by the wind against a background of lyrical, muted strings (remininscent of the finale of the 4th Symphony). There follows a lullaby-like violin solo, and the sound of a distant alarm from the brass and celesta. The second movement, Allegretto, is a lively scherzo with somewhat heavy popular overtones. Here again the relationship with Mahler's ländlers is more than clear. The acid wit and sarcastic violin are characteristic of this. A near-waltz (mocking bassoon, pizzicato strings, xylophones) is heard several times and leads to a sudden conclusion. The third movement, Largo, is the first of a long and magnificent series of largos which were to mark all Shostakovich's following symphonies. According to Volkov, its impact on the audience at the first performance was considerable. A string section brings out its sad lyricism and an increasingly sorrowful atmosphere envelopes the entire orchestra. The strings are now dominant, without any great differences in dynamic. A lovely cantilena (solo oboe) is heard in the distance over a background of almost imperceptible strings. The flute joins the oboe in a duet. Then the strings, still divided, together with the xylophone, bring tragedy back into the foreground. There follows a lyrical flight which fades to a pianissimo in an icy, rigid atmosphere (single notes fall from the harp) and the conclusion. The fourth movement, Allegro non troppo, bursts forth victorious and triumphant, vulgar and bracing. False joy must be flaunted to appease the consciences of the tyrants. Frenzied strings gallop in almost Rossini-like fashion, pursuing we know not what unobtainable paradise. The brass and strident xylophone join in before a violent stroke on the tomtom puts an end to this race to the abyss. The lyrical theme from the Largo returns like a memory to trouble this effervescence. A theme is repeated obsessively in the strings. The joy motif returns, played at a slow tempo which modifies its character. The apotheosis is one of empty majesty. Shostakovich: Symphony No. 8 by Kirill Kondrashin / Remastered. 🎧 Qobuz bit.ly/3xN8Sz1 Apple Music apple.co/3yc9srB 🎧 Amazon Music amzn.to/3y9mXbd Tidal bit.ly/3O8MFCm 🎧 Deezer bit.ly/3OyGHe0 Spotify spoti.fi/3tTS8Vt 🎧 RUclips Music bit.ly/3ZWm4hX SoundCloud bit.ly/3TrS1fj 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … Shostakovich: Symphony No. 4 by Kirill Kondrashin / Remastered. 🎧 Qobuz bit.ly/3HFDdEk Apple Music apple.co/3GhTiQW 🎧 Amazon Music amzn.to/3xEO78x Tidal bit.ly/3O9y5dZ 🎧 Deezer bit.ly/3y6yckE Spotify spoti.fi/3xxyijO 🎧 RUclips Music bit.ly/403TA60 SoundCloud bit.ly/3ZX70k2 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … Dmitri Shostakovich PLAYLIST (reference recordings): ruclips.net/video/kqjxlpzfND0/видео.html
Symphony No 5 in D Minor, op.47 (1937). First performance: 21st October, 1937 by the Leningrad Philharmonic Orchestra (Conductor: Evgeny Mravinsky).The atmosphere which reigned during the first performance of the symphony was particularly tense according to various witnesses. In political terms, this was the darkest, most terrifying period of the trials and purges. Stalin was not only getting rid of his enemies, but 'cleansing' Society at every level. The Country's political leaders were waiting for a chance to catch Shostakovich out. The public, whose emotions were running high, were wondering how the Composer would cope with the situation and what the limits of his concessions would be in this new work, which had a "programme": "the artist's reply to justified criticism", in the form of an 'autocritique'. For had one not been seeing for months, even years, during the Trials, well-known people criticising themselves with a particularly keen humility? It went without saying that the "programme" would be removed after de-Stalinisation. The language of this Symphony is indeed much simpler than that of its predecessors, although it bears a certain thematic relationship to the 4th. In form and length however, it conforms more closely to the classico-romantic mould. However, it made an impression on the public, a very great impression, at its famous "première" and no-one could mistake the heartrending depth of the Largo which revealed the Composer's feelings about the new tragedy the Russian people were experiencing. Henceforth, Shostakovich was to compose to a double standard and write falsely optimistic music. Works written around the same time as this symphony include film music (Maxim's Return, op.45, Volochayevka Days, op.48), the Four Romances on Verses of Pushkin for bass and piano, op.46 and above all, the String Quartet No. 1 in C Major, Op.49. The first movement, Moderato, opens with a beautiful, very lyrical theme in the lower strings, developed by the violins. The atmosphere soon becomes heavy, however. A kind of sad lullaby is heard in the distance on the bassoon and clarinet. It comes closer and then recedes. The outline of a second theme is heard in the strings and is then taken up by a solo flute before the strings return to the first theme again. The second theme reappears in an atmosphere which is still melancholy and suddenly becomes louder (brass and piano). Irony is heard in the false cheerfulness of a general acceleration which develops to a racing rhythm before bursting open, heavy and oppressive. A strident xylophone joins in. A Mahlerian apotheosis culminates in an atmosphere which has become tragic and the second theme, hammered out like a question by the percussion reverberates then gradually fades away into the melancholy distance played by the wind against a background of lyrical, muted strings (remininscent of the finale of the 4th Symphony). There follows a lullaby-like violin solo, and the sound of a distant alarm from the brass and celesta. The second movement, Allegretto, is a lively scherzo with somewhat heavy popular overtones. Here again the relationship with Mahler's ländlers is more than clear. The acid wit and sarcastic violin are characteristic of this. A near-waltz (mocking bassoon, pizzicato strings, xylophones) is heard several times and leads to a sudden conclusion. The third movement, Largo, is the first of a long and magnificent series of largos which were to mark all Shostakovich's following symphonies. According to Volkov, its impact on the audience at the first performance was considerable. A string section brings out its sad lyricism and an increasingly sorrowful atmosphere envelopes the entire orchestra. The strings are now dominant, without any great differences in dynamic. A lovely cantilena (solo oboe) is heard in the distance over a background of almost imperceptible strings. The flute joins the oboe in a duet. Then the strings, still divided, together with the xylophone, bring tragedy back into the foreground. There follows a lyrical flight which fades to a pianissimo in an icy, rigid atmosphere (single notes fall from the harp) and the conclusion. The fourth movement, Allegro non troppo, bursts forth victorious and triumphant, vulgar and bracing. False joy must be flaunted to appease the consciences of the tyrants. Frenzied strings gallop in almost Rossini-like fashion, pursuing we know not what unobtainable paradise. The brass and strident xylophone join in before a violent stroke on the tomtom puts an end to this race to the abyss. The lyrical theme from the Largo returns like a memory to trouble this effervescence. A theme is repeated obsessively in the strings. The joy motif returns, played at a slow tempo which modifies its character. The apotheosis is one of empty majesty. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Gosh, the first movement sounds as I have never heard it before from anybody. Tempo is beautifully slow and the soli appear as if coming out from darkness. Looking forward with great anticipation to the other movements, not least the last...
This is the recording which imprinted on me. I was in my mid-teens when this came out as a low budget LP introducing the Melodiya label to The Netherlands. It was during that same time, 1970s, that Kondrashin was named principal guest conductor at the Amsterdam Concertgebouw Orchestra. Alas the conductor died too soon. His legacy is priceless.
Wunderschöne und spannende Interpretation dieser neoklassischen und perfekt komponierten Sinfonie mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der intelligente und unvergleichliche Dirigent leitet das ausgezeichnete Orchester im relativ schnellen Tempo und mit dramatischer Dynamik. Wunderbar und majestätisch zugleich!
He is digging out soli parts that go unrecognised (at lest by me in the many versions I listened to mainly twenty years ago). This is creative conducting, making your own piece of art from a great artists material, like we may see in the theatre for example, or hear by a daring acting artist reading a master's poem and make it new, fresh and living again after years of staling in the larder.
Rollerball is a movie I never watched, but I know it features the Great James Caan, and also some music by André Prévin, including some good wah-infused funk with moog topping. But most importantly the soundtrack LP introduced me to this symphony, which to this day, is still one of my favorites. It has that ominous feel to it that you hear in the opening strigs. And I have always been mesmerized by the largo, and more precisely, at 21:11. Thank you for posting this recording.
Last movement begins in a fairly fast tempo, but not with the awful rush than some execute. But the tempo is increasing... Then a dramatic interchange between groups of instruments. Tension amounts.Then something is beginning to happen... emotions erupt, now we are all out in the open, no hiding; the onfliict is laid bare, Guernica, oh my god, this beating goes into my heart and I fall down. Silence. No screaming from and audience.. I miss them first. After a while the silence after the last timpani has its effect as much as the recent beating of whips on my old, bleeding back.
Never heard before the Kondrashin version of the fifth. Maybe the best of what I've heard so far, even better than Sanderling and Bernstein. Each note is at its place, like colors in a Levitan's picture. Painfull dusk.
Shostakovich might not agree but some people have argued that Beethoven would preobably considered this to be the best symphony of XX century. And this, for me at least, might be the only performance that improved on Mravinsky’s pemiere interpretation. Dynamically :)
Kurill and Dimitri survived ) and survived in Soviet Russia - and they were the best, It is a same Russians always need to do better because the morons that are in charge cut then off.
Dmitri Shostakovich (1906-1975) Symphony No. 5 by Kirill Kondrashin / Remastered.
🎧 Qobuz bit.ly/3LoKE6B Apple Music apple.co/3M9PaGu
🎧 Amazon Music amzn.to/42bRMcx Tidal bit.ly/3Lt2XaE
🎧 Deezer bit.ly/3yGZmyc Spotify spoti.fi/42fJ8JZ
🎧 RUclips Music bit.ly/3lmJTAn SoundCloud bit.ly/3JgX7qe
🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 …
00:00 Symphony No. 5 in D minor, Op. 47 - I. Moderato, Allegro non troppo, Moderato
13:37 Symphony No. 5 in D minor, Op. 47 - II. Allegretto
18:55 Symphony No. 5 in D minor, Op. 47 - III. Largo
31:04 Symphony No. 5 in D minor, Op. 47 - IV. Allegro non troppo, Allegro
Moscow Philharmonic Orchestra
Conductor: Kirill Kondrashin
Recorded in 1964
New mastering in 2023 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Symphony No 5 in D Minor, op.47 (1937). First performance: 21st October, 1937 by the Leningrad Philharmonic Orchestra (Conductor: Evgeny Mravinsky).The atmosphere which reigned during the first performance of the symphony was particularly tense according to various witnesses. In political terms, this was the darkest, most terrifying period of the trials and purges. Stalin was not only getting rid of his enemies, but 'cleansing' Society at every level. The Country's political leaders were waiting for a chance to catch Shostakovich out. The public, whose emotions were running high, were wondering how the Composer would cope with the situation and what the limits of his concessions would be in this new work, which had a "programme": "the artist's reply to justified criticism", in the form of an 'autocritique'. For had one not been seeing for months, even years, during the Trials, well-known people criticising themselves with a particularly keen humility? It went without saying that the "programme" would be removed after de-Stalinisation. The language of this Symphony is indeed much simpler than that of its predecessors, although it bears a certain thematic relationship to the 4th. In form and length however, it conforms more closely to the classico-romantic mould. However, it made an impression on the public, a very great impression, at its famous "première" and no-one could mistake the heartrending depth of the Largo which revealed the Composer's feelings about the new tragedy the Russian people were experiencing.
The first movement, Moderato, opens with a beautiful, very lyrical theme in the lower strings, developed by the violins. The atmosphere soon becomes heavy, however. A kind of sad lullaby is heard in the distance on the bassoon and clarinet. It comes closer and then recedes. The outline of a second theme is heard in the strings and is then taken up by a solo flute before the strings return to the first theme again. The second theme reappears in an atmosphere which is still melancholy and suddenly becomes louder (brass and piano). Irony is heard in the false cheerfulness of a general acceleration which develops to a racing rhythm before bursting open, heavy and oppressive. A strident xylophone joins in. A Mahlerian apotheosis culminates in an atmosphere which has become tragic and the second theme, hammered out like a question by the percussion reverberates then gradually fades away into the melancholy distance played by the wind against a background of lyrical, muted strings (remininscent of the finale of the 4th Symphony). There follows a lullaby-like violin solo, and the sound of a distant alarm from the brass and celesta.
The second movement, Allegretto, is a lively scherzo with somewhat heavy popular overtones. Here again the relationship with Mahler's ländlers is more than clear. The acid wit and sarcastic violin are characteristic of this. A near-waltz (mocking bassoon, pizzicato strings, xylophones) is heard several times and leads to a sudden conclusion.
The third movement, Largo, is the first of a long and magnificent series of largos which were to mark all Shostakovich's following symphonies. According to Volkov, its impact on the audience at the first performance was considerable. A string section brings out its sad lyricism and an increasingly sorrowful atmosphere envelopes the entire orchestra. The strings are now dominant, without any great differences in dynamic. A lovely cantilena (solo oboe) is heard in the distance over a background of almost imperceptible strings. The flute joins the oboe in a duet. Then the strings, still divided, together with the xylophone, bring tragedy back into the foreground. There follows a lyrical flight which fades to a pianissimo in an icy, rigid atmosphere (single notes fall from the harp) and the conclusion.
The fourth movement, Allegro non troppo, bursts forth victorious and triumphant, vulgar and bracing. False joy must be flaunted to appease the consciences of the tyrants. Frenzied strings gallop in almost Rossini-like fashion, pursuing we know not what unobtainable paradise. The brass and strident xylophone join in before a violent stroke on the tomtom puts an end to this race to the abyss. The lyrical theme from the Largo returns like a memory to trouble this effervescence. A theme is repeated obsessively in the strings. The joy motif returns, played at a slow tempo which modifies its character. The apotheosis is one of empty majesty.
Shostakovich: Symphony No. 8 by Kirill Kondrashin / Remastered.
🎧 Qobuz bit.ly/3xN8Sz1 Apple Music apple.co/3yc9srB
🎧 Amazon Music amzn.to/3y9mXbd Tidal bit.ly/3O8MFCm
🎧 Deezer bit.ly/3OyGHe0 Spotify spoti.fi/3tTS8Vt
🎧 RUclips Music bit.ly/3ZWm4hX SoundCloud bit.ly/3TrS1fj
🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 …
Shostakovich: Symphony No. 4 by Kirill Kondrashin / Remastered.
🎧 Qobuz bit.ly/3HFDdEk Apple Music apple.co/3GhTiQW
🎧 Amazon Music amzn.to/3xEO78x Tidal bit.ly/3O9y5dZ
🎧 Deezer bit.ly/3y6yckE Spotify spoti.fi/3xxyijO
🎧 RUclips Music bit.ly/403TA60 SoundCloud bit.ly/3ZX70k2
🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 …
Dmitri Shostakovich PLAYLIST (reference recordings): ruclips.net/video/kqjxlpzfND0/видео.html
Listen to this record…Kondrashin was one of the greatest conductors ….I played under him severel times…that was the best musical momentes in my life..
Symphony No 5 in D Minor, op.47 (1937). First performance: 21st October, 1937 by the Leningrad Philharmonic Orchestra (Conductor: Evgeny Mravinsky).The atmosphere which reigned during the first performance of the symphony was particularly tense according to various witnesses. In political terms, this was the darkest, most terrifying period of the trials and purges. Stalin was not only getting rid of his enemies, but 'cleansing' Society at every level. The Country's political leaders were waiting for a chance to catch Shostakovich out. The public, whose emotions were running high, were wondering how the Composer would cope with the situation and what the limits of his concessions would be in this new work, which had a "programme": "the artist's reply to justified criticism", in the form of an 'autocritique'. For had one not been seeing for months, even years, during the Trials, well-known people criticising themselves with a particularly keen humility? It went without saying that the "programme" would be removed after de-Stalinisation. The language of this Symphony is indeed much simpler than that of its predecessors, although it bears a certain thematic relationship to the 4th. In form and length however, it conforms more closely to the classico-romantic mould. However, it made an impression on the public, a very great impression, at its famous "première" and no-one could mistake the heartrending depth of the Largo which revealed the Composer's feelings about the new tragedy the Russian people were experiencing.
Henceforth, Shostakovich was to compose to a double standard and write falsely optimistic music. Works written around the same time as this symphony include film music (Maxim's Return, op.45, Volochayevka Days, op.48), the Four Romances on Verses of Pushkin for bass and piano, op.46 and above all, the String Quartet No. 1 in C Major, Op.49.
The first movement, Moderato, opens with a beautiful, very lyrical theme in the lower strings, developed by the violins. The atmosphere soon becomes heavy, however. A kind of sad lullaby is heard in the distance on the bassoon and clarinet. It comes closer and then recedes. The outline of a second theme is heard in the strings and is then taken up by a solo flute before the strings return to the first theme again. The second theme reappears in an atmosphere which is still melancholy and suddenly becomes louder (brass and piano). Irony is heard in the false cheerfulness of a general acceleration which develops to a racing rhythm before bursting open, heavy and oppressive. A strident xylophone joins in. A Mahlerian apotheosis culminates in an atmosphere which has become tragic and the second theme, hammered out like a question by the percussion reverberates then gradually fades away into the melancholy distance played by the wind against a background of lyrical, muted strings (remininscent of the finale of the 4th Symphony). There follows a lullaby-like violin solo, and the sound of a distant alarm from the brass and celesta.
The second movement, Allegretto, is a lively scherzo with somewhat heavy popular overtones. Here again the relationship with Mahler's ländlers is more than clear. The acid wit and sarcastic violin are characteristic of this. A near-waltz (mocking bassoon, pizzicato strings, xylophones) is heard several times and leads to a sudden conclusion.
The third movement, Largo, is the first of a long and magnificent series of largos which were to mark all Shostakovich's following symphonies. According to Volkov, its impact on the audience at the first performance was considerable. A string section brings out its sad lyricism and an increasingly sorrowful atmosphere envelopes the entire orchestra. The strings are now dominant, without any great differences in dynamic. A lovely cantilena (solo oboe) is heard in the distance over a background of almost imperceptible strings. The flute joins the oboe in a duet. Then the strings, still divided, together with the xylophone, bring tragedy back into the foreground. There follows a lyrical flight which fades to a pianissimo in an icy, rigid atmosphere (single notes fall from the harp) and the conclusion.
The fourth movement, Allegro non troppo, bursts forth victorious and triumphant, vulgar and bracing. False joy must be flaunted to appease the consciences of the tyrants. Frenzied strings gallop in almost Rossini-like fashion, pursuing we know not what unobtainable paradise. The brass and strident xylophone join in before a violent stroke on the tomtom puts an end to this race to the abyss. The lyrical theme from the Largo returns like a memory to trouble this effervescence. A theme is repeated obsessively in the strings. The joy motif returns, played at a slow tempo which modifies its character. The apotheosis is one of empty majesty.
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Can't wait!
Gosh, the first movement sounds as I have never heard it before from anybody. Tempo is beautifully slow and the soli appear as if coming out from darkness. Looking forward with great anticipation to the other movements, not least the last...
This is the recording which imprinted on me. I was in my mid-teens when this came out as a low budget LP introducing the Melodiya label to The Netherlands. It was during that same time, 1970s, that Kondrashin was named principal guest conductor at the Amsterdam Concertgebouw Orchestra. Alas the conductor died too soon. His legacy is priceless.
I bought the recording in around 1970 when it was issued in UK on the budget price MFP label. I was 18 and utterly captivated
Dmitri Shostakovich was probably the #1 reason i became a huge fan of classical.
Wunderschöne und spannende Interpretation dieser neoklassischen und perfekt komponierten Sinfonie mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der intelligente und unvergleichliche Dirigent leitet das ausgezeichnete Orchester im relativ schnellen Tempo und mit dramatischer Dynamik. Wunderbar und majestätisch zugleich!
:)
He is digging out soli parts that go unrecognised (at lest by me in the many versions I listened to mainly twenty years ago). This is creative conducting, making your own piece of art from a great artists material, like we may see in the theatre for example, or hear by a daring acting artist reading a master's poem and make it new, fresh and living again after years of staling in the larder.
Rollerball is a movie I never watched, but I know it features the Great James Caan, and also some music by André Prévin, including some good wah-infused funk with moog topping. But most importantly the soundtrack LP introduced me to this symphony, which to this day, is still one of my favorites. It has that ominous feel to it that you hear in the opening strigs. And I have always been mesmerized by the largo, and more precisely, at 21:11. Thank you for posting this recording.
This was excellent. Never really been a huge fan, but I'm going to have to listen to more of Shostakovich.
I think, Friedrich Nietzsche would like, maybe, even would love Dmitri Shostakovich music.
Last movement begins in a fairly fast tempo, but not with the awful rush than some execute. But the tempo is increasing... Then a dramatic interchange between groups of instruments. Tension amounts.Then something is beginning to happen... emotions erupt, now we are all out in the open, no hiding;
the onfliict is laid bare, Guernica, oh my god, this beating goes into my heart and I fall down. Silence. No screaming from and audience.. I miss them first. After a while the silence after the last timpani has its effect as much as the recent beating of whips on my old, bleeding back.
Thank you for your very expressive comments, which show that you are "actively" listening to the recording.
MV and K have the tempo down PERFECT
Gracias/Thank you
Thank you!!! ❤❤
Never heard before the Kondrashin version of the fifth. Maybe the best of what I've heard so far, even better than Sanderling and Bernstein. Each note is at its place, like colors in a Levitan's picture. Painfull dusk.
LET'S GOOOOOO SHOSTY NO 5 THE GOAT🔥🔥🦍🦍🦍‼️‼️‼️
^^
Shostakovich might not agree but some people have argued that Beethoven would preobably considered this to be the best symphony of XX century. And this, for me at least, might be the only performance that improved on Mravinsky’s pemiere interpretation. Dynamically :)
😇😇😇😇😇🤗👍👍👍👍👍
Kurill and Dimitri survived ) and survived in Soviet Russia - and they were the best, It is a same Russians always need to do better because the morons that are in charge cut then off.
wow, extra slow finale!
8:04
A música e o pensamento não se traduzem, têm a mesma "linguagem."
Die beliebte Sinfonie von D.D.