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> Shostakovich / Britten "Pieter Wispelwey cello", SACD

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Elephantus
post 5/07/2009, 21:44
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Shostakovich / Britten "Pieter Wispelwey cello" SACD

Shostakovich / Britten "Pieter Wispelwey cello" , SACD

Genre: Classical – Instrumental

Гибридный SACD 5.0

total time 61.56



Pieter Wispelwey, cello
Sinfonietta Cracovia
Jurjen Hempel, conductor
    Dimitri Shostakovich (1906-1975)
    Concerto nr. 2 in G major for Cello and Orchestra, op. 126


  1. Largo 14.50
  2. Allegretto 4.40
  3. Allegretto 16.28


    Benjamin Britten (1913 - 1976)
    Third Suite for Cello Solo, op. 87


  4. Lento (introduzione) 3.05
  5. Allegro (marcia) 1.51
  6. Con moto (canto) 1.11
  7. Lento (barcarola) 2.28
  8. Allegretto (dialogo) 1.54
  9. Andante espressivo (fuga) 2.21
  10. Fantastico (recitativo) 1.37
  11. Presto (moto perpetuo) 0.51
  12. Lento solenne (passacaglia) 5.53
  13. Molto semplice (three Russian folk songs and Requiem melody) 4.17

Recording location and dates:
Shostakovich- September 2006, Szymanowski Philharmonic Hall, Krakow
Britten - December 2007, Deventer, Holland
Producers: Hein Dekker, Pieter Wispelwey
Recording engineers: C. Jared Sacks, Hein Dekker
Editing, mastering: C. Jared Sacks


Channel Classics Records (CCS SA 25308, 7 23385 25308), 2008
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Elephantus
post 5/07/2009, 21:55
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Цитата( буклет )
Britten & Shostakovich

This CD presents music composed by Benjamin Britten and Dmitri Shostakovich, two striking personalities from recent 20th-century musical history, who were also united by an intimate friendship. Britten had admired the music of Dmitri Shostakovich (1906-1975) since the 1930s, and since that time he had been influenced by it. This was the area of Shostakovich's best known and most often performed symphony, the Fifth, written in 1937. It was composed amidst the worst terror of the Stalinist regime, the paranoia, the culture of spying and betrayal, the pogroms and mass executions. Strangely enough, both the public and the Soviet government considered this symphony a mystery. Shostakovich is working with double meanings in this work: behind a charming smile, a hideous tragedy is taking place. It is this very symphony which Britten quotes at the beginning of this Second suite in d minor (1967), as a gesture of solidarity and sympathy.

If Britten's great inspiration for his vocal music was his friendship with the tenor Peter Pears, a major portion of his instrumental music owes its existence to Britten's friendship, dating from the 1960s, with the cellist Mstislav Rostropovich. It was for this inspiring and energetic Russian that he composed the Sonata for cello and piano, Op. 65, the Symphony for cello and orchestra Op. 68, and the Three Suites for cello solo, op. 72, op. 80, and op. 87. Rostropovich gave the premieres of all these works, almost during Britten's own Aldeburgh Festival. The two friends were introduced to each other by Dmitri Shostakovitch in 1960, at the time that Rostropovich gave the premiere of Shostakovitch Cello concerto nr. 1 in England. From that time onward, Rostropovich and his wife, the soprano Galina Vishevskaya, were guests at the Aldeburgh Festival. Britten addressed a distant salute to his Russian colleague in the 1971 Third Suite for unaccompanied cello. In this work, he included Shostakovich's motto DSCH, not only his initials but also the notes in de most frequently occurring motive in his music. It is a musical greeting between two friends, two soul mates who felt the approach of death and filled their notes with that awareness.

Shostakovitch wrote his Second Cello Concerto in G, op. 126, in 1966, seven years after the first. He again dedicated the work to Rostropovich who gave the premiere under conductor Yevgeni Svetlanov on 25 September in the large hall of the Moscow Conservatory. This concert was given on the occasion of Shostakovich's 60th birthday. The composer could not have provided a gloomier opening for his birthday concert than the shadowy introduction of this Second Cello Concerto. The solitary cello slowly ascends from shadowed depths into lamenting high-pitched lines, surrounded by the sonorities of the lower strings. The cello's sad meditations, periodically interrupted by bursts of energy from the xylophone, achieve a dramatic climax, only to be pushed aside by the bass drum. After this, there is a slow procession back to the opening theme, and the movement ends emphatically in an atmosphere of grief. The relatively light hearted central movement, Allegretto, opens with a rhythmic and sharply-etched theme in the cello, based on an Odessa folk song, Bubliki, kupitye, bubliki (Doughnuts for sale, doughnuts!). Here, Shostakovich has mixed a generous portion of irony and merriment into his music. The closing movement alternates between ominous fanfares, echoed further on by the unaccompanied cello, as well as tender and lyrical moments for the cello alone. Despite the occasional bursts of energy, the undertone of the music remains somber, and there are reminiscences of the first movement. The concerto ends with a long-held note in the cello, accompanied by an enthusiastic birthday crash from the percussion.

Clemens Romijn



Frozen tundra and Scottish early middle ages

Empty landscapes, desolate conditions, existential fears and threats, nocturnal winter tundra (was that northern light?) and a Scottish cloister in the fog anno 948. The opening scenes of these pieces are intensely evocative. These are meditations, unsentimental evaluations beyond nostalgia. Stories about human resilience in desperate conditions. The concerto sometimes feels like a maze. There are hallucinatory moments when mountain ranges emerge from frozen surfaces as Siberian mirages. Temperatures reign that affect the brain and one is taken on a roller coaster during the bestial spectacle of the Scherzo with its Breughelian collection of unlikely animals. But there are also the gratifying reactions of a heroic soloist to the roar of a many-headed orchestral dragon, which he deals with in several cadenzas. It all remains quite alienating throughout the last movement with its quasi-virtual little marches and pseudo-idyls. Not to mention the ending... That the whole piece is supposed to be played in one tempo does add to its already mysterious and monolythic character. A metronome number (100 for the three movements) becomes a universal dogma with all kinds of enigmatic implications. In the suite the journey towards the tragic passacaglia is a bit like the stations of the cross in miniatures. The passacaglia itself is an utterly bitter dialogue with a fatal conclusion. The ensuing apotheosis, the epilogue ending with the old Russian requiem melody, is equally elusive, mysterious and oppressive as the conclusion of the solo concerto.

Pieter Wispelwey


Питер Уиспелви не избегает музыки ХХ века. Был представлен исполненный им искристый Кантикль Солнцу Губайдуллиной. Теперь этот диск, соединивший композиторов знакомых и тепло относящихся друг к другу. Произведения вроде бы разные: концерт с соло и чистое соло. И записаны в разных залах, что явно ощущается. И виолончель по-разному располагается в пространстве, в Сюите ее бархатный голос почти перед (а стало быть, над) вами. В концерте, виолончель звучит несколько подальше и слегка отчуждено. Однако объединяет эти произведения, как точно замечено в буклете про Концерт Шостаковича - «грустные размышления». Если так случилось, что вы слабо знакомы с творчеством автором, но проявляете интерес к ним, вслушайтесь в этот альбом, он достоин этого.


Музыка – 10
Запись – 10
Многоканальность - 10


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Посадил дед репку. А она не выросла. (Не сказка)
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derter
post 13/10/2010, 23:02
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Уважаемые администраторы форума, обратите, пожалуйста, внимание.

Почему-то в рейтинге этот диск оценен на единицу, несмотря на лестный отзыв Elephantusа.

Спасибо.
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Murarius
post 14/10/2010, 08:34
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Это давняя история, но можно попросить Андрея выставить оценку.


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"...так он, чего доброго, примется за чтение стихов ... или, еще того хуже, сам станет поэтом, а я слыхала, что болезнь эта прилипчива и неизлечима." © М.Сервантес, "Дон Кихот"
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Elephantus
post 14/10/2010, 20:02
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Отчего не попросить, попросите.
Кстати, мой оппонент свой отзыв оставил в весьма краткой, но вполне самодостаточной форме.


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Посадил дед репку. А она не выросла. (Не сказка)
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Murarius
post 14/10/2010, 20:35
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Тогда попросим и оппонента! 01-regular_smile.gif


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"...так он, чего доброго, примется за чтение стихов ... или, еще того хуже, сам станет поэтом, а я слыхала, что болезнь эта прилипчива и неизлечима." © М.Сервантес, "Дон Кихот"
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