With the release of Symphonies Nos 9 & 10, Gianandrea Noseda and the London Symphony Orchestra approach the halfway point in their cycle of the complete Shostakovich Symphonies, recorded live in concert at the Barbican Hall.
For Gianandrea Noseda, the Ninth is Shostakovich at his most ‘classical’ but a modern statement, nonetheless. ‘Stalin wanted a celebration of the victory of Russia, and Shostakovich came out with a sort of opera buffa symphony,’ the LSO’s Principal Guest Conductor says. ‘Short, witty, lots of sarcasm. I can really feel his wish to go against what was expected of him.’
The Tenth Symphony was written after Stalin’s death and portrays the tragedy, despair, terror, and violence of his tenure. The second movement is a musical portrait of Stalin, a march of unremitting terror and frenzied violence, while the finale contains some of the slowest music of the whole symphony, a reminder of the desolation of the Gulag prisoners.
London Symphony Orchestra
Gianandrea Noseda, Conductor
Total time: 01:19:05
DSD 512 fs, DSD 256 fs, DSD 128 fs, DSD 64 fs, DXD 24 Bit, FLAC 192 kHz, FLAC 96 kHz
|Original Recording Format|
Classic Sound Ltd. – Jonathan Stokes, Neil Hutchinson
|Recording Type & Bit Rate||
|Release Date||February 5, 2021|
NativeDSD Senior Reviewer
Absolutely the best of his Shostakovich releases so far!!
The Symphonist – Album of the Week
Gripping accounts of two contrasting masterpieces. Spectacular, precise, and expressive playing and forensically detailed sound make this a great introduction to Dmitri’s world.
Gianandrea Noseda’s march through the Shostakovich symphonies with the London Symphony Orchestra continues apace with a boisterous coupling of the Ninth and Tenth.
Nothing better sets up the fullest impact of the latter, with its dig at Stalin, than a Ninth that effectively elicits its tangle of barbed mischief and darker reflections. Noseda does just that, countering roguish urgency with an Adagio that almost terrifies, cut short by the puckish emergence of the finale.
If the Tenth displays its own fitful tendencies, they are packed with a vicious punch and concealed within broader symphonic sweeps and the overwhelming shadow of uncertainty felt by Russians in the wake of Stalin’s death. The opening movement is a towering expression of that foreboding, its seismic release in the explosive Allegro euphoric in its brevity and pointing the way forward to greater self-affirmation (the composer’s signatory DSCH motif doggedly appears), even a final jab of wit.
BBC Record Review
Sparkling playing from the LSO
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