Dmitri Chostakovitch Le Premier Détachement, Op. 99 Vidéos
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2024-04-28
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Dmitri Dmitriyevich Shostakovich Igor Stravinsky Gustav Mahler 1906 1947 1955 1962 1975
Dmitri Dmitriyevich Shostakovich 25 September [12 September] 1906 – 9 August 1975) was a Russian composer and pianist. He is regarded as one of the major composers of the 20th century. Shostakovich achieved fame in the Soviet Union under the patronage of Soviet chief of staff Mikhail Tukhachevsky, but later had a complex and difficult relationship with the government. Nevertheless, he received accolades and state awards and served in the Supreme Soviet of the RSFSR (1947) and the Supreme Soviet of the Soviet Union (from 1962 until his death). A polystylist, Shostakovich developed a hybrid voice, combining a variety of different musical techniques into his works. His music is characterized by sharp contrasts, elements of the grotesque, and ambivalent tonality; the composer was also heavily influenced by the neo-classical style pioneered by Igor Stravinsky, and (especially in his symphonies) by the late Romanticism of Gustav Mahler. Shostakovich's orchestral works include 15 symphonies and six concerti. His chamber output includes 15 string quartets, a piano quintet, two piano trios, and two pieces for string octet. His solo piano works include two sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other works include three operas, several song cycles, ballets, and a substantial quantity of film music; especially well known is The Second Waltz, Op. 99, music to the film The First Echelon (1955–1956),[2] as well as the suites of music composed for The Gadfly. The Best of Shostakovich 2 1. Shostakovich - Symphony No. 10 2. Shostakovich - Violin Concerto No. 1 3. Shostakovich - Suite Op. 114 4. Shostakovich - Symphony No. 5 For more: (http•••) #MusicHistory #ClassicalMusic #Shostakovitch
Dmitri Shostakovich Maxim Vengerov Mstislav Rostropovich Sergei Prokofiev David Oistrakh Mitropoulos Mahler London Symphony Orchestra 1936 1947 1948 1955 1994
Maxim Vengerov Mstislav Rostropovich London Symphony Orchestra 1994 When Stalin launched his second major attack against the composers of the Soviet Union in February 1948, two of the nation’s most prominent composers were among the main defendants. One sat in the first row, the other in the last. In the first row was Sergei Prokofiev. Usually impeccably dressed, he was now demonstratively wearing casual clothes to show that all this did not concern him. Way in back sat a nervous Dmitri Shostakovich, who left the room every few minutes to smoke a cigarette. No scene could better characterize the two contemporaries. The one self-confident, the other apprehensive. Dmitri Shostakovich enjoyed a carefree early creative phase in which he proactively experimented with many styles and techniques. In 1936, however, he was a victim of the first wave of Stalinist cultural repression and was forced to radically alter his musical idiom. From now on, all of his works harbored a double meaning. In 1948, he felt his situation was hopeless. During the war, he had at least been able to write in a less codified manner. But now his newly won freedom made bureaucrats suspicious again. In 1947 Shostakovich had written a work which he dared not have premiered; a violin concerto conceived for his friend and chamber-music partner David Oistrakh. It was given the opus number 77. After the tribunal of 1948, Shostakovich’s pile of unpublished works kept growing: among them were the eleven songs From Jewish Folk Poetry, the String Quartet No. 4 and the Four Monologues after Pushkin. All of these works were given their premiere only after Stalin’s death. The Violin Concerto was first performed by David Oistrakh in Leningrad on October 1955. Oistrakh gave the sensationally successful U.S. premiere of the work in December of the same year with the New York Philharmonic conducted by Dimitry Mitropoulos. The work was then listed as Op. 99, since No. 77 had been assigned to an occasional work. The Complete Edition restored the original numbering and re-assigned Op.99 to the film music The First Echelon. Shostakovich’s Violin Concerto No.1 is less a virtuoso showpiece than a symphonic work with a broad expressive spectrum. David Oistrakh did not have to prove his technical superiority here; he had to show what he could accomplish with it. Like a symphony, the concerto is in four movements, whose sequence – slow, fast, slow, fast – harks back to Shostakovich’s symphonic universe. The designations of the movements bear symbolic significance. The “Nocturne” does not evoke midnight rendezvous, but describe a time of darkness. The “Burlesque” – like its kindred spirit, the Burlesque in Mahler’s Ninth Symphony – derides the madness of the everyday hustle and bustle we allow to dominate our lives. The concerto is compendium of hidden messages which the composer systematically incorporated into his music as a means of communicating his moral resistance to the musically sensitive listener. The Jewish musical reminiscences doubtless proclaim the composer’s defiance of anti-Semitism, which Stalin used as an instrument of control. In the Scherzo, the composer uses his “signature” D. Sch. – the notes D-E flat (“Es” in German)-C-B (“H” in German) – to indicate that he identifies with the Jewish vagrant musician who is forced to play merry tunes though he’d much rather grieve. Anticipating the Passacaglia here is a hint of the motivic cell of its ostinato theme. It is the “power” motive from his opera Lady Macbeth of the Mtsenk District, which recurs throughout his entire oeuvre. The Passacaglia – another form that is pregnant with meaning and frequently found in Shostakovich’s music – becomes another requiem for the countless victims of the Stalinist era. A harrowing effect occurs at the climax when the violin overtakes the ostinato theme in the upper voice and sings it itself. All the anxiety and madness of these years reverberates through the great solo cadenza which links the Passacaglia to the Final-Burlesque. Virtuosity is transcended, transformed into a profound expressiveness, a measure for the emotional vigor of the performer. As in other works of Shostakovich such as the Piano Trio No.2 or the String Quartets 3, 6, and 10, the end of the Burlesque reintroduces the ostinato theme of the Passacaglia at the climax: the mindless and heartless bustle of the Burlesque as the basis of the continuation of a system of violence and repression, as symbolized by the “power” motif. Bernd Feuchtner
Dmitri Dmitriyevich Shostakovich Sergei Prokofiev Igor Stravinsky Gustav Mahler Palace Square 1905 1906 1934 1947 1955 1956 1962 1975
The Best of Dmitri Dmitriyevich Shostakovich (25 September 1906 / 9 August 1975) Part II (http•••) Shostakovich achieved fame in the Soviet Union under the patronage of Soviet chief of staff Mikhail Tukhachevsky, but later had a complex and difficult relationship with the government. Nevertheless, he received accolades and state awards and served in the Supreme Soviet of the RSFSR +••.••(...)) and the USSR (from 1962 until his death). After a period influenced by Sergei Prokofiev and Igor Stravinsky, Shostakovich developed a hybrid style, as exemplified by Lady Macbeth of the Mtsensk District (1934). This single work juxtaposed a wide variety of trends, including the neo-classical style (showing the influence of Stravinsky) and post-Romanticism (after Gustav Mahler). Sharp contrasts and elements of the grotesque characterize much of his music. Shostakovich's orchestral works include 15 symphonies and six concerti. His chamber output includes 15 string quartets, a piano quintet, two piano trios, and two pieces for string octet. His piano works include two solo sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other works include three operas, several song cycles, ballets, and a substantial quantity of film music; especially well known is The Second Waltz, Op. 99, music to the film The First Echelon +••.••(...)) (0:00) Symphony No. 4 in C minor, Op. 43: Moderato con moto (8:45) Symphony No. 5 in D minor, Op. 47: Moderato (24:16) Symphony No. 5 in D minor, Op. 47: Allegro non troppo (35:47) Symphony No. 7 in C major (Leningrad), Op. 60: Memories, Moderato (poco allegretto) (46:16) Symphony No. 8 in C minor, Op. 65 (Stalingrad): Allegro non troppo (53:00) Symphony No. 10 in E minor, Op. 93: Andante (1:05:17) Symphony No. 11 in G minor, Op. 103 (The Year 1905): Palace Square: adagio (1:20:44) Symphony No. 15 in A major, Op. 141: Adagio - allegretto - adagio - allegretto (1:34:41) Piano Trio No. 2 in E minor, Op. 67: Andante - Moderato (1:41:55) Piano Trio No. 2 in E minor, Op. 67: Allegretto (1:52:19) Piano Concerto No. 1, for piano, trumpet & strings, in C minor, Op. 35: Lento (1:59:35) Piano Concerto No. 2 in F major, Op. 102: Allegro (2:06:56) Violin Concerto No. 1 in A minor, Op. 77 Passacaglia, andante, cadenza (2:25:16) Cello Concerto No. 1 in E flat major, Op. 107: Allegretto (2:31:32) Chamber Symphony in F major, Op. 73a (2:39:51) Suite for Jazz Orchestra No. 2: Dance No. 1 (2:42:52) Suite for Jazz Orchestra No. 2: March (2:46:02) Quintet for piano & strings in G minor, Op. 57: Scherzo: Allegretto (2:49:28) Sonata for piano No. 2 in B minor, Op. 61: Allegretto (2:57:00) String Quartet No. 8 in C minor, Op. 110: Largo (3:01:34) String Quartet No. 11 in F minor, Op. 122: Introduction (andantino) (3:03:49) String Quartet No. 11 in F minor, Op. 122: Recitativo (adagio) (3:05:09) String Quartet No. 15 in E flat minor, Op. 144: Elegy (adagio) (3:17:31) Hamlet, suite from the film score, Op.116a (assembled by Atovmyan): Prelude (3:19:53) Overture on Russian and Khirghiz Folksongs, for orchestra, Op. 115
Dmitri Shostakovich Thomas Sanderling Sanderling Russian Philharmonic Orchestra
The Russian Philharmonic Orchestra and Thomas Sanderling perform Eight Waltzes from Film Scores, by Dmitri Shostakovich.
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