Shostakovich never wrote an original composition entitled “Chamber Symphony”. Works known under this title are arrangements of the composer’s string quartets by the conductor Rudolf Barshai and authorized by the composer. The String Quartet No. 1, Op. 49 was written in 1938, after the Great Terror from 1937 and can be considered as an act of inner emigration. The String Quartet No. 8 in C minor, Op. 110 was written 22 years later, within three days, from 12 to 14 July 1960, in the Saxon health resort of Gohrisch. The Piano Concerto No. 1 in C minor, Op. 35, written in 1933, is one of the last works written in Shostakovich’s first creative period which was not yet overshadowed by Stalinist repressions and is peppered with a great deal of parodistic allusions. With the present recordings the Deutsche Radio Philharmonie under its young, energetic chief conductor Pietari Inkinen draws a dramaturgically convincing bow across Shostakovich's work.

The first volume in an adventurous new series juxtaposing the piano music of Shostakovich with his most talented pupils. All three of the younger composers here demonstrate the individuality of their own voice.

Least known of them now is German Galynin (1922-1966). In 1951, the year in which he paradoxically obtained the Stalin Prize for his Epic Poem on Russian Themes, Galynin began suffering from schizophrenia that he was admitted to an asylum, and continued to received psychiatric care for the rest of his short life. He wrote this five-movement Suite in 1945, while still a student at the Conservatoire, and it alternates somewhat prophetically between moods of mania and melancholy.

Shostakovich himself cited Alemdar Karamanov (1934-2007) as one of the most original composers of his time. Ukrainian born but of Turkish parentage, he studied in Moscow before returning to Crimea, converting to Christianity and thus consigning himself to obscurity at the time, and his later music shares an experimental, visionary quality with contemporary pioneers such as Schnittke, Denisov, and Gubaidulina. The Variations for piano (1962) belong to the last phase of his Moscow period.

The career of Boris Tchaikovsky (1925-1996) proceeded along smoother lines. The single-movement Sonatina from 1946 is again a student work, albeit a highly talented and disciplined one, with the kind of thorough-going understanding of Classical form which Shostakovich evidently instilled in and expected from his students.

Fernanda Damiano juxtaposes these pianistic rarities with several pieces which demonstrate the breadth of style and confidence of artistic personality that made Shostakovich stand out from his contemporaries. Alongside the fleet-fingered brilliance of the Three Fantastic Dances and the Polka from his ballet The Golden Age, she plays a trio of Preludes and Fugues (Nos. 1, 7 & 24) from the collection he wrote for Tatiana Nikolaeva, another pupil, in 1950-51.

Kirill Petrenko describes Dmitri Shostakovich’s Eighth Symphony as an “incredible psychological drama”. The composer wrote it while his life was in danger during the Second World War: between a perilous existence and Stalinist censorship. The Ninth and Tenth also bear vivid witness to Shostakovich’s confrontation with the regime – and his self-assertion. Berliner Philharmoniker Recordings now releases the recordings of Symphonies 8–10 as the orchestra’s second major hardcover edition with chief conductor Kirill Petrenko.

Violinist Rachel Barton Pine’s 26th recording for Cedille Records, Dependent Arising, reveals surprising confluences between classical and heavy metal music by pairing Shostakovich’s Violin Concerto No. 1 in A minor, Op. 77 with Earl Maneein’s “Dependent Arising” — Concerto for Violin and Orchestra, performed with the Royal Scottish National Orchestra under the baton of Tito Muñoz.

Known for her virtuosity, expressive playing, and extensive repertoire, Pine discovered her love for heavy metal as a teenager, and later performed at rock radio stations where she would intersperse covers of songs by Black Sabbath, AC/DC, and Metallica with works by Paganini and Ysaÿe. The album explores connections between modern classical music and heavy metal and showcases Pine’s unique journey with these two seemingly disparate genres.

Now a staple of the classical concerto repertory, Shostakovich’s emotionally charged Violin Concerto No. 1 also holds a special place among metal enthusiasts, with its diverse movements ranging from haunting Nocturne to relentless Burlesque. Earl Maneein’s “Dependent Arising” pushes the boundaries of traditional concerto composition and draws inspiration from the Western European classical music tradition, the world of “Extreme Metal,” and the composer’s practice as a Buddhist. Maneein ia also an acclaimed violinist and composer known for his unique and innovative fusion of western classical music, heavy metal, and hardcore punk,

The album was produced by the Grammy-winning team of James Ginsburg and engineer Bill Maylone, with session engineering by the RSNO’s Hedd Morfett-Jones. It was recorded January 7–8, 2022 at Scotland’s Studio, Glasgow.

With their recording of Dmitri Shostakovich's complete string quartets, the Quatuor Danel has crafted an impressive opus that delves into the composer's life with deep musical understanding and establishes unparalleled standards in interpreting his chamber music. These new live recordings, stemming from their 2022 residency at the Mendelssohn Hall of the Gewandhaus Leipzig, capture the full spectrum of emotions embedded in Shostakovich’s quartet cycle, from the ethereal to the profound, from the whimsical to the contemplative. With their interpretation of this extraordinary cycle, the Quatuor Danel has forged a distinctive Shostakovich style that cannot be found in any other quartet. Primarius Marc Danel reflects on the resonance with the audience in Leipzig, describing it as nothing short of sensational. “I hope the recordings will also convey the collective spirit we permanently felt during our residency in the Mendelssohn Hall."

Recorded live at Mendelssohn-Saal Gewandhaus zu Leipzig February & May, 2022

REVIEW:

The Quatuor Danel succeeds in working out new dimensions of expression under the best acoustic conditions. The fact that this music comes across so intensely in the present recordings is certainly also due to the sound crew. Rarely have we heard a recording as balanced and transparent as this one. 

-- Pizzicato

REVIEW:

Schooled and nurtured by both the Borodin and Beethoven quartets, the Danel has inherited their performing legacy yet adds its own voice. Its players also understand Shostakovich’s structures which, although cast in traditional forms of sonata, fugatos, Beethovenian motivic development and passacaglias, are at the same time free and exploratory. The new shakes hands with tradition, and the Danel is alert to this, its surgically precise textures allowing the listener to hear these ideas clearly. There are parts of the writing, such as in the opening movements of Quartets nos.8 and 15, where the influence of Renaissance music is clearly evident. Here, the Danel sculpts the sense of tension and resolution very effectively.

— The Strad

“Gazebo Dances” is a collection of Classical pieces by The United States Navy Band featuring some of the greatest composers including Nikolai Rimsky-Korsakov, Jean-Baptiste Arban, John Corigliano, Dmitri Shostakovich, Aaron Copland, and Michael Giacchino.

Unchanged since its formation more than a decade ago, the Quartetto Noûs has made albums for the Amadeus label and the Italian division of Warner Classics, but this is the ensemble’s first recording to receive international distribution and attention. Having studied with the Quartetto di Cremona but also quartet luminaries such as Gunter Pichler and Rainer Schmidt, they combine an Italian warmth of collective sonority with the incisive musical instincts of modern-European schools of quartet playing.

Pesenting five of Shostakovich’s best-known quartets, this volume presents the first in a projected series of the complete quartets for release on Brilliant Classics. Contemporaneous with the postwar Ninth Symphony which attracted censure for its unsettling humor, the Third Quartet of 1946 remained one of the composer’s own favorite works, and its five-movement form dives deep into dark waters before finding uneasy rest in one of Shostakovich’s most characteristically edgy finales. It was following the death of Stalin in 1953 that several of Shostakovich’s works began to feature his musical monogram, DSCH transliterated into notation, and the Fifth Quartet is one of the first such pieces. The contrapuntal working of the quartet makes it one of the most satisfying in the cycle, while the Seventh presents the composer once more as oddball clown, the Fool to the King Lear of the Eighth Quartet, where the DSCH motif finds a tragic apotheosis. The five-movement form once more serves Shostakovich well in the Ninth but signs of his refined and austere ‘late style’ begin to appear in the solemn simplicity of the slow music and the pithy exhilaration of the finale, which is almost a quartet in itself and the most Bartókian movement of the entire cycle.

REVIEW:

"Shostakovich has weathered the storms of time and modernity well and his popularity in the last few years has reached unprecedented peaks. A lot of this is on the back of his symphonic output and on his concertos which seem to speak to the current generation in a way that Mahler spoke to the Sixties generation. All of this attention has meant that Shostakovich’s later music, more often damned with faint praise in his lifetime, is now being critically reassessed. Nowhere is this more true than with the chamber music of which the jewel in the crown is, of course, the cycle of quartets...alongside those by Bartók, the most impressive composed during the twentieth century...younger quartets are embracing these superb works as part of their core repertoire...

Which brings me to the Quartetto Noûs. I will start with the latest quartet included in what is the first volume in a projected series, No. 9. I do so partly because it is a good example of the effect of the long shadow of No. 8 on the others in the series. This great masterpiece belies any notion that Shostakovich’s powers in any way diminished in the sixties and is the full equal of the more celebrated sibling which preceded it. I also start with it because this recording by the Quartetto Noûs is an exceptionally good one. I started by comparing the scherzo third movement with the reference set by the Fitzwilliams and the Italians just seem sharper, more caustic and yet also more playful. It is unfair to contrast a much older recording technically with a brand new one but the superb sound given to the Noûs really does make a difference. It is simultaneously richer and in closer focus. Listen to the way the pizzicati in the first movement skitter like raindrops. There is a lot of lyricism to this quartet, another dimension of Shostakovich’s musical personality not often heard in the symphonies, that the Noûs mine to great effect. We are reminded that this quartet was dedicated to his new wife. The first of the piece’s two slow movements really sings on this recording.

...I suspect most listeners will go to the eighth for a visceral evocation of the historical period yet the more introspective, less febrile approach taken by the Noûs has a lot to recommend it[.]

A significant feature of this new recording is a welcome insistence on finding color in this music. When I listen to these quartets I am constantly thinking that this is where the firecracker modernist of the fourth symphony went with all his bag of tricks and relentless invention. He made a brief, enigmatic reappearance in the ninth and in his last symphony but generally the Shostakovich of the symphony and concerto is a rather sober soul. The performance here of the seventh string quartet, itself a somewhat enigmatic work written after the death of the composer’s first wife, exemplifies what I liked so much about the Noûs’ manner. Even at full stretch, as in the finale, which must surely be an expression of personal not societal grief, they find a strange luminous beauty of sound in the double stopping that dominates the wild first half of the movement. They seem to be making the point that Shostakovich doesn’t have to be ugly in sound to register...This score, brief but haunting, might stand for the buried treasure awaiting discovery in the Shostakovich cycle as a whole.

...the third quartet is concerned with the human cost of war – the heartfelt return of the Schubertian theme of the slow movement that seems to quote Der Greise Kopf from Winterreise is gut wrenching in this performance before fading out into the stratosphere. The line from the Schubert song – ‘how far it is still to the grave’ – seems appropriate to the mood of the post war movements and Shostakovich’s expectations of that period.

The Noûs approach to this intriguing work might be described as consistently cantabile. Even in the spiky second movement, they play beautifully. Anyone raised on Soviet era Shostakovich might baulk at this but it is worth recalling that, in this fraught post war period, to embrace traditional abstract musical traditions like quartet writing was in itself a radical act courting accusations of formalism. Music was meant to evoke socialist realism, not concern itself with beauty of form...The Noûs play with plenty of grit as demonstrated by the third movement but there is always that sense of lamenting, singing voices behind and responding to the violence.

The fifth quartet clearly presents commentators with a challenge. The translated notes by Oreste Bossini included with this release in effect raise their hands in the face of music which is, apparently, ‘complex and inscrutable in its density and depth’. Hardly words to send the prospective listener rushing to the CD player...Yet there does seem to be an autobiographical element to even a quartet like this that seems to be resolutely absolute music. During the development section of the first movement all four instruments declaim a new melody fff. Not just any melody but a quotation from a clarinet trio by the astonishing Russian composer, Galina Ustvolskaya, to whom the composer had earlier proposed marriage only to be rejected. Knowing this fact, seems to me, to transform this movement into one concerned with ardent, turbulent feelings of desire. It is a fact that also gives me an opportunity to get on my soapbox about what a scandal it is that Ustvolskaya is still only known as a footnote to a less well known Shostakovich quartet rather than on the merits of her music. This is little short of a disgrace.

What we get is a passionate rather than a gaunt work and the Noûs Quartet’s singing style is glorious here. Have a listen to the soaring, high lying violin melody that ends this opening movement before ushering in the second. It is like an austere, ecstatic lark ascending. That second movement, one of Shostakovich’s finest, has never sounded more like an intimate, clandestine assignation...what the Quartetto Noûs give us is a Shostakovich in the round in all his multifaceted genius.

--MusicWeb International (David McDade)

After the great success of her debut album (OPUS KLASSIK award 2021) and her duo album with pianist En-Chia Lin, Selina Ott for her third recording teams up with renowned pianist Maria Radutu, conductor Dirk Kaftan and the ORF RSO to present selected works by Dmitri Shostakovich, André Jolivet and Mieczyslaw Weinberg. Shostakovich’s Concerto for piano, trumpet and string orchestra (1933) is notable for a prevailing parodistic tone, which scarcely occurs in this form in any of his other works. Many of the themes that lend the music the distorted face of the grotesque are heard in the trumpet. The choice of instruments of André Jolivet’s Concertino for trumpet, piano and strings is exactly the same as that of Shostakovich’s work, but the latter is more of a piano concerto, while Jolivet’s is more of a trumpet concerto. Like Shostakovich, Mieczyslaw Weinberg also incorporates several quotations into the final movement of his Trumpet Concerto (1967), for example the fanfare from Mendelssohn’s Wedding March. Referred to by Shostakovich as “symphony for trumpet and orchestra”, the Concerto presents music of a taut inner structure and logical consistency.

This release is the fruit of the French pianist Nicolas Stavy’s efforts to uncover unknown works by Dmitri Shostakovich. Spanning some fifty years of the composer’s career, these rarities include early piano pieces influenced by Chopin and the fragment of an unfinished violin sonata, but is bookended by arrangements of symphonic music, by Shostakovich himself and by Mahler, a constant influence.

The album opens with the most substantial work on the disc, Shostakovich’s arrangement of his late, great Fourteenth Symphony (1969) for soprano, bass, string orchestra and percussion. With texts by poets including Guillaume Apollinaire, Federico García Lorca and Rainer Maria Rilke, the work evokes death, reaching great emotional depths. Rather than ‘just’ making a piano transcription for rehearsal purposes, Shostakovich included a percussion part as well as one for celesta, in order to reproduce sounds that would be impossible to imitate on the piano alone. This is followed by the substantial fragment of a sonata for violin and piano dated 1945 and four short piano pieces composed around 1917-1919, which reveal a very young composer and demonstrate his surprising individuality and maturity. The final work on the disc is an arrangement of the opening 95 bars of Gustav Mahler's Tenth Symphony which Shostakovich probably made during the 1920s for personal study purposes and to demonstrate the work to his fellow members in one of Leningrad’s two Mahler Societies. In Shostakovich’s transcription for piano four hands, Stavy is joined by Cédric Tiberghien.

REVIEW:

Nicolas Stavy’s painstaking trawl through the Shostakovich Archives has brought together some completely unknown works from the composer’s vast output with a major masterpiece recorded for the first time in a completely different guise. Admittedly, not everything here is of the highest quality. For instance, the earliest music, a collection of four short piano pieces composed during Shostakovich’s teenage years, is fluent but largely derivative.

Yet the rest of the album has much to offer. From the 1920s, we get a deftly scored arrangement of the first 95 bars to the Adagio of Mahler’s Tenth Symphony for piano duet, which is beautifully performed by Stavy and Cédric Tiberghien. Another tantalisingly brief fragment is the large-scale opening section of an unfinished Violin Sonata dating from 1945 which is given a powerfully committed performance by Stavy and Sueye Park.

However, the most substantial discovery is undoubtedly the composer’s reduction for piano and percussion of the orchestral score to his 14th Symphony. Whether or not Shostakovich conceived this arrangement as a viable performing alternative to the original, rather than a useful vehicle for helping the vocal soloists learn their parts, its intimate scoring works particularly effectively in the more reflective settings such as the opening ‘De profundis’, ‘O Delvig, Delvig!’ and ‘The Poet’s Death’. Elsewhere, despite Stavy’s phenomenal mastery of the enormously tricky piano writing, I miss some of the cut and thrust of Shostakovich’s pungent string writing, especially in the frenzied musical argument of ‘Loreley’ and in the furious outburst of anger unleashed at the end of ‘The Zaporozhian Cossacks’ Answer to the Sultan of Constantinople’.

-- BBC Music Magazine

The BBC Philharmonic and its new Chief Conductor, John Storgårds, follow their previous release of Shostakovich’s Eleventh Symphony with this album of Symphonies Nos 12 and 15. Subtitled ‘The Year 1917’, the Twelfth Symphony was a project which Shostakovich had been planning and discussing for two decades – a symphony about Lenin. The first movement, ‘Revolutionary Petrograd’, depicts the arrival of Lenin in Petrograd in April 1917 and his meetings with the working people of the city. The second, ‘Razliv’, commemorates the site of Lenin’s retreat to the north of the city. ‘Aurora’, the third movement, refers to the Russian battleship the revolutionary mutinous crew of which fired the first shot of the attack on the Winter Palace.

Finally, ‘The Dawn of Humanity’ celebrates the ultimate victory of the Great October Socialist Revolution. Musically, the Twelfth seems to regress to a more simplistic musical language than that of the immediately preceding Symphony – which some commentators ascribe to Shostakovich’s joining the Communist Party and perhaps trying harder to meet its expectations. The Fifteenth (and last) Symphony was written entirely in July 1971, at a composer’s rest home in Repino, north-west of Leningrad. It was his first non-programmatic symphony since the Tenth, and Shostakovich was wary of discussing the meaning of it, but eventually commented that it might be understood as representing the journey from life to death.

This recording is a rarity and belonged to Silvestri, only discovered after his death. The live performance from 1961 of Shostakovich Symphony No.8 is a new addition to Silvestri's discography, as is Kabalevsky’s Colas Breugnon Overture. The recording captures Silvestri’s electrifying performance of Shostakovich’s greatest symphony. During his early years in Moscow, Silvestri conducted Shostakovich and was praised by the composer. Silvestri’s only other Shostakovich recording was Symphony No.5 with the Vienna Philharmonic in 1960