Shostakovich: The Human Comedy; The Nose; The Shot
Naxos
CD
$19.99Oct 10, 2025
Shostakovich was known for his fun-loving attitude during his early years as a composer. The colourful incidental music for The Shot - reconstructed by Mark Fitz-Gerald from the original piano scores - vividly evokes the raucous life of experimental youth theatre in Leningrad during the late 1920s. This carefree world had changed dramatically by 1934 when Shostakovich completed his music for The Human Comedy - a work that creates a charming atmosphere of Parisian escapism. Discarded movements from his first opera The Nose form an entire orchestral suite. The programme concludes with Mark Fitz-Gerald's reconstruction of the March of the Anarchists, transcribed by ear from the film The Vyborg Side.
Silvestre Revueltas’ score for the 1935 film Redes (“Nets”) remains one of his greatest works, full of captivating rhythms, vivid instrumental color, and characteristic melodic inspiration. It is splendidly performed here by the PostClassical Ensemble conducted by Angel Gil-Ordóñez, newly synchronized to a lovely restored version of the original film. The movie itself isn’t much. Although cinematographer Paul Strand’s work is gorgeous as visual art, the story is a leftist morality play at its most primitive.
Villagers in small Mexican fishing community vainly struggle against the evil rich guy (complete with waxed mustache). At the start, the poor fisherman Miro begs for money to take his sick son to the hospital. Evil rich guy refuses. The child dies and is buried in a lavishly decorated coffin that makes one wonder why they didn’t invest the funeral funds in medical care in the first place. The grieving dad organizes the villagers and they go fishing, determined to resist the exploitation of the town’s wealthy business class. They catch fish. As they return with their catch there’s a rumble with the rich guy’s team. Soldiers are called in and the villagers flee, but Miro gets shot in the scuffle. He nobly ignores the pain, but dies anyway. End of story.
The entire film takes about an hour. There are fabulous shots of the Mexican seaside, lots of macho posing, and of course, fishing sequences. Thrilling it is not, but Revueltas’ score is sensational. Not being terribly into visuals, I would hope that Naxos will release a complete soundtrack album. The music is certainly worth hearing beyond the already familiar suite. Indeed, the film is scored almost throughout. Dialogue is minimal. For the last fifteen minutes or so in this new version the dialogue had to be abandoned in favor of the new soundtrack’s continuous music (English subtitles remain). If you want to hear the (few) spoken bits, the original film with its original soundtrack is thoughtfully included.
You also get several bonus features: discussions of Revueltas, his work in film, his politics, and the music, all produced by PostClassical Ensemble Executive Director Joseph Horowitz. I didn’t watch these, as I general ignore all such things. As a matter of principal, I believe that musical works stand or fall on their own merits, as entertainment, and nothing bores me more than being preached at or having the pleasure of listening turned into an academic symposium. I do recognize, however, that there is a time and place for such things, and other listeners/viewers may feel very differently. To see how Revueltas’ music enhances this visually beautiful film is worth experiencing just for itself, and requires no special pleading.
Andris Nelsons, today simultaneously Principal Conductor of the Boston Symphony Orchestra and the Leipzig Gewandhaus Orchestra, was discovered by Orfeo for the album. Christiane Delank, the long-standing artistic director of the label had taken him on to conduct the Bavarian Radio Symphony Orchestra in the recordings of the two violin concertos by Dmitri Shostakovich with Arabella Steinbacher and realized that in him one of the great conductors of his generation was maturing, a development that took place at breath-taking pace. When he was entrusted with conducting the City of Birmingham Symphony Orchestra, she won him over for the ambitious projects of a complete recording of the symphonies by Tchaikovsky (the first three symphonies were recorded, but no longer released following Nelsons’ departure to Boston) together with symphonic poems and other orchestral works by Richard Strauss and works by Stravinsky and Shostakovich. So, Orfeo had the privilege of documenting on album the Birmingham period, the first major international stage in Andris Nelsons’ career.
Excerpts of reviews from previously released volumes included in this set:
Strauss: Also Sprach Zarathustra; Don Juan; Till Eulenspiegel / Nelsons:
Don Juan has all the sparkle and the flood of testosterone that you might expect, dissolving into a string theme that is radiant with extrovert ambition. This is a reading full of passion and drive. Nelsons refuses to linger where some others do but keeps the adrenaline rushing throughout.
– MusicWeb International
Tchaikovsky: Francesca Da Rimini, Symphony No 4 / Nelsons:
In the last movement of the symphony Nelsons is just as blistering in tempo and febrile excitement as Svetlanov, and I never thought I would hear a living conductor equal that kind of intensity. These are great performances by a great conductor.
– Fanfare
Stravinsky: The Firebird, Symphony Of Psalms / Nelsons
Nelsons' interpretation of The Firebird has much in common with Boulez's New York recording for Sony--hyper-detailed (those three harps really tell), yet never at the expense of excitement. Emphasis on clarity also flatters the Symphony of Psalms, particularly in the central fugue. His fleet tempos come close to Stravinsky's own and project the quick outer movements with plenty of punch. This is a very good performance by any standard, and the sonics are impressively natural. If the coupling suits, then don't hesitate.
There are few countries that can match Russia in terms of having produced as many outstanding musicians, especially pianists; Tatiana Nikolayeva was one member of what has become known as the Russian Piano School which along with her includes Sviatoslav Richter, Emil Gilels and many others and that tradition continues right down to today’s representatives with no apparent sign of any let up, thank goodness! Raw talent coupled with a dedicated singl- minded sense of purpose drove these artists to dominate the very pinnacle of peerless pianism. In 1951, aged 27, Tatiana Nikolayeva visited Prague and made the earliest of these recordings, several of which appear on CD for the first time. She had already caused a considerable stir in Czechoslovakia’s capital on previous visits, which included her first in 1947 when she came second at a competition organised as part of the First World Festival of Youth and Students. That was the same year she completed her conservatory studies when she astounded her examiners by including all 48 of Bach’s preludes and fugues from his Well Tempered-Clavier for her final performance test. In Leipzig in July 1950 during that town’s Bachfest, organised to mark the 200th anniversary of Bach’s death that work became a turning point in her career as she offered the judges the opportunity to call for her to play whichever they asked for on the spot; on the jury that awarded her first prize was none other than Dmitry Shostakovich! At the festival’s closing concert when Bach’s concerto for three pianos was to be performed Maria Yudina (1899-1970), who was to have been at the second piano, had injured a finger and couldn’t play so her place was taken by Shostakovich, himself an outstanding pianist, and from that moment on Nikolayeva’s acquaintance with the composer developed into a friendship that would last right up until Shostakovich’s death in 1975. It is a measure of Shostakovich’s respect and admiration for Tatiana Nikolayeva that he not only dedicated his cycle of 24 preludes and fugues to her but consulted with her over them, including many of her suggestions and observations in the work and, of course, it was she that gave its première in Leningrad in December 1952.
It was fascinating to read in the booklet that she had such a phenomenal memory that she never took any sheet music with her on tours, relying instead on that memory for her performances. The digital mastering from the original tapes by Jan Lži?a? has done wonders with the inevitable clicks and pops one might expect from these recordings, some of which were made over 65 years ago, though obviously the solo works come off best as the orchestral sound betrays its age more readily. That said her playing in the Rachmaninov piano concerto is as convincing as any I have ever heard despite the (to my ears) rather sluggish orchestral accompaniment. Her playing comes over as completely natural, without the least suggestion of artifice. The first of the solo works is Prokofiev’s 3rd piano sonata ‘From old notebooks’ and despite the rather brittle sound caused, I think, by a little too much treble, it is a solid performance that demonstrates her capacity for bringing out the contrast between the stormy and the subtle. Next come three pieces by Nikolayeva herself revealing a less well-known or appreciated side of her, that of composer. Her Three concert etudes, op13 show a real talent; how much music she wrote I must confess I don’t know but on the evidence here what she did compose is clearly worth exploring. It shows the influence of Prokofiev with complex rhythms and dense textures as opposed to the lighter and more romantic touch of Rachmaninov.
Opening disc 2, we are treated to three of the Shostakovich 24 Preludes and fugues which, as mentioned above, were dedicated to her and for which she was closely consulted. You would expect Shostakovich to know what he was doing with his dedication and consultations and her performance shows how well-founded his opinion was as she plays the pieces as naturally as if they were her own. In an interview she characterised the 15th prelude and fugue in D flat major as “...so fierce and lively, like a whirlpool. And in that quiet forest, (in Ruza outside Moscow at an artists’ retreat) when I heard that stormy whirlpool I went into wild rapture”. That certainly comes over in her playing. Conductor Kurt Sanderling told Tatiana that in his opinion the preludes and fugues were Shostakovich’s intimate diary and when she objected “Why not his string quartets and symphonies”, he replied no, this work for it is “an intimate diary of Shostakovich, kept for himself, that brings happiness to all of us”. How true Sanderling’s observation was and how wonderful to listen to these works with that thought in mind.
She then turns to Bach, her great love and for which playing she is rightly renowned. First up is the Fantasia in C minor, BWV 816 and her luminous playing is revealed to its highest degree, and shines through despite the sound appearing to be a little distant. Even better is her earlier recording of Bach’s French Suite no.5 in G major, BWV 816. This is a remarkable recording in terms of playing and sound which belies its age of 66 years. She plays these again as if she owned them; just listen to the Courante and its following Sarabande and marvel at the contrast she creates, injecting excitement and refinement in equal degrees and after the gentleness of the Sarabande the Gavotte and Bourrée revert to the thrill of a headlong race as notes tumble out in a great rush; utterly thrilling. Altogether a fabulous 15 ½ minutes of pianistic brilliance finishing with a breathtakingly fast Gigue.
Closing the two-disc set is another marvellous example of Nikolayeva’s technical skills, which were coupled with an innate sensitivity: her 1952 recording of Bach’s Chromatic fantasia & fugue in D minor, BWV 903 which, along with the Prokofiev, her own concert etudes, the Shostakovich and the Bach fantasia, is the first time the recording has appeared on CD. It is further proof that she was one of the greatest ever interpreters of Bach’s keyboard works. It is not enough simply to love them since all pianists who include them in their repertoire surely do, rather it is a total understanding of how they work and an ability to reveal their intrinsic humanity which she had and which is rare in my listening experience. This set is a must-have for all lovers of solo piano music and admirers of the consummate art of Tatiana Nikolayeva, a true original.
Pianist Yulianna Avdeeva makes her Pentatone debut with Resilience, presenting music by Szpilman, Shostakovich, Weinberg and Prokofiev, composers who – each in their own way – maintained themselves in times of great instability. The focal point of this album is Wladyslaw Szpilman, a Polish Jew who survived World War II thanks to the power of his music, and is widely known as the title hero of Roman Polanski’s award-winning film The Pianist. Incited by the unique opportunity to play on Szpilman’s house piano, this recording project helped Avdeeva to cope with the challenges of our current times, and it may offer fortitude and consolation to listeners as well. A pianist of fiery temperament and virtuosity, Yulianna Avdeeva plays with power, conviction, and sensibility, having won over audiences all over the world.
Nikolay Roslavets was one of the great musical innovators of the 1920s, described by Stravinsky as "the most interesting Russian composer of the 20th century," but vilified by the Soviet regime on account of his constant experimentation. His Piano Trio No. 4 is notable for it's romantic and passionate spirit and complex polyphony. Shostakovich's Piano Trio No. 2 is one of the most harrowing and revered of all his chamber works. The Piano Trio No. 1, a remarkable composition for a 16-year-old student, is a work of romantic intensity cast in a musical language recognisably that of Shostakovich.
The structure of Shostakovich's First Violin Concerto is particularly original, with a sequence of four movements - slow, fast, slow, fast - entitled Nocturne, Scherzo, Passacaglia and Burlesque. The opening movement (Nocturne) is a beautiful song, blossoming from a single melodic fragment. The Scherzo is biting and dazzling virtuosic, like a carousel gone wild. The ensuing Passacaglia is, quite simply, the pinnacle of this concerto; a masterpiece - mature, elegiac and highly lyrical. The passacaglia theme is repeated nine times with contrapuntal elaborations. This is followed by a large-scale cadenza that forms a bridge to the finale. The concerto closes with a Burlesque, in which the theme from the Passacaglia has one final, piercing reappearance. Shortly after the premiere of Gubaidulina's Offertorium (1981), the Swiss patron of the arts Paul Sacher asked her to compose a further violin concerto for the German soloist Anne-Sophie Mutter, but nothing came of this due to lack of time. It was only in 2007, eight years after Sacher's death, that Gubaidulina completed In tempus praesens, which was given its premiere by Mutter at the Lucerne Festival. It is a work of extreme contrasts in which very deepl infernal passages are juxtaposed with extremely high, celestial episodes. Much more so than Offertorium, In tempus praesens is a spectacular work for the violinist, who plays virtually from start to finish and barely has a chance to pause for breath. The virtuosity demanded by the work is never an end in itself.
Shostakovich’s two Piano Concertos span a period of almost thirty years. The youthful First Piano Concerto is a masterful example of eclecticism, its inscrutable humour and seriousness allied to virtuoso writing enhanced by the rôle for solo trumpet. Written as a birthday present for his son Maxim, the Second Piano Concerto is light-spirited with a hauntingly beautiful slow movement. With the permission of the composer’s family, Boris Giltburg has arranged the exceptionally dark, deeply personal and powerful String Quartet No. 8, thereby establishing a major Shostakovich solo piano composition.
REVIEWS:
We have no shortage of excellent versions of the two Shostakovich piano concertos, including Igoshina’s on CPO and Marc-André Hamelin’s on Hyperion. Here is another. These are big, bold, in-your-face performances that find a wider range of expression in both works than you might have believed possible. Much of the credit for this belongs to Vasily Petrenko as well, who continues his series of top-notch Shostakovich recordings for Naxos.
In the First Concerto, particularly the outer movements, Giltburg attacks the zany, theater music themes with unbridled ferocity, finding a bitter edge of desperation for all the music’s wackiness. The bright, up-front sonics and Rhys Owens’ piercing trumpet complement the approach, and there is also some remarkably precise ensemble playing from the Royal Liverpool Philharmonic strings. It’s an exhausting cliff-hanger of a performance.
Giltburg and Petrenko’s vision of the theoretically light and easy Second Piano Concerto is even more striking. From the dry, perky winds at the start to the positively cataclysmic first movement development section, this is clearly a performance that has tremendous character–one which finds plenty of menace beneath the music’s breezy, sometimes comical, sometimes sweetly romantic exterior. It makes you sit up and listen with fresh ears, truly.
The two concertos really are two short for a single disc, and finding appropriate couplings is always an issue. This is where things get really interesting. Giltburg has made transcriptions of some of Shostakovich’s music for string quartet, the Waltz third movement from the Second Quartet, and the entire Eighth Quartet. He evidently had permission from Shostakovich’s family, which means nothing, as family members are usually terrible guardians of their illustrious ancestral legacies.
The Waltz works well enough, but the Eighth Quartet is an impossible piece to transcribe for the keyboard. This is string music, plain and simple. The sustained notes in the fourth movement simply cannot be reproduced on the piano, although with clever pedaling and a sensible tempo Giltburg almost pulls it off. The savage second movement sounds positively tame here: evidently it’s much easier to push a string quartet to its limits than it is a Fazioli.
Curiously, however, it’s impossible to call the performance as such a failure. It’s quite moving in its way, and if you know the original, either as a quartet or in its chamber symphony version, you can’t help but come away with a renewed appreciation of Shostakovich’s genius for matching the music to the (original) medium. But please, let’s not have any more of these experiments. One is more than enough. A great disc.
– ClassicsToday(David Hurwitz; 10/10)
Giltburg has all the agility, power and expressive intensity Shostakovich’s piano concertos demand, plus the temperament to negotiate their mercurial shifts of mood. Every phrase is imaginatively colored or nuanced, and never out of gimmicky point making, always because he has something worth saying. And he has found like-minded partners in the RLPO and Petrenko, who not only follow and support him superbly but also respond and provoke where appropriate.
– Gramophone
What is so appealing about this record is that the Boris Giltburg has rethought the works through the prism of the composer’s experiences. The first concerto is wonderfully skittish, a series of melodic in-jokes and exchanges with the orchestra. The second concerto, determinedly frisky, is played with a reckless to-hell-with-it abandon. With devastating precision, Giltburg has interpolated between the concertos his own piano reductions of one movement of the second string quartet and the entirety of the eight quartet, contemporaneous with the two piano concertos, exposing the composer’s seditious inner thoughts. This is a constantly illuminating, almost faultless project.
Shostakovich - his music is a challenge each and every quartet sooner or later has to face up to. Yet when it comes to the Pavel Haas Quartet, it seems to be in their very DNA. The ensemble's unbridled, impulsive and, now and then, frenetic energy, sense for extreme contrast, ability to bring to bear gradation from breath-taking subtlety and tenderness to symphonic drama are facets essentially incident to Shostakovich's music. Although composed in safety, away from the horrors of World War II, String Quartet No. 2 (1944) reflects the suffering, uncertainty and anxiety of living at the time (the lyrical Recitative of the second movement, as performed by Veronika Jarušková, the first violin). Both dating from 1960, String Quartets Nos. 7 and 8 are truly intimate confessions. While Shostakovich dedicated the former (the shortest piece of the cycle) to the memory of his first wife, he most likely intended the latter as his own epitaph, at the time when be hovered on the thin line between life and death. Attesting to the autobiographical nature of String Quartet No. 8 is the opening DSCH motif, Shostakovich's musical signature, which reoccurs throughout the piece. The Pavel Haas Quartet surpass the abyss of time, as well as the barrier of personal physical existence, delving into the very centre of Shostakovich's music and reflecting the full scale of emotions with airiness, as if the music were their own. The Pavel Haas Quartet and (in truth) their Shostakovich. At long last!
Human creativity is versatile and endless. If we enthuse about something we feel a need to convey that enthusiasm to others - to quote, to recite. Creativity is thus closely bound up with inspiration. One of the oldest and most resilient ways of fostering cultural life is to "borrow" ideas. In music this has been normal practice as long as there have been songs and singers to sing them. In the Romantic period, this musical borrowing became an art form in its own right, with world-famous virtuosos and composers leading the way. But there are also artists today who relish this art form. Ole Edvard Antonsen and Wolfgang Plagge are two exemplary examples on this release!
Goetz: Piano Concertos Nos. 1-2 & Spring Overture / Cabassi, Ishii, Magdeburg Philharmonic
Naxos
CD
$13.99$19.99Save 30%Sep 09, 2016
Hermann Goetz's lifespan was no longer than Mozart's, and though much admired by contemporaries, as a tragic genius his music became almost forgotten, and the domain of but a few connoisseurs such as Gustav Mahler. Goetz's style remained closer to schumann and Mendelssohn, preferring lyricism and clarity to the more radical approaches of Liszt and Wagner. The virtuoso First Piano Concerto was a student work, its lovely central adagio sharing a use of colorful wind parts with the freshly optimistic Second Piano Concerto composed six years later.
The trumpet has had many concertos written for it by composers from the Soviet era and beyond. Appealing in its unabashed melodies and colorfully nostalgic feel, Arutiunian’s Trumpet Concerto became popular in the West, while Weinberg’s emotive Trumpet Concerto in B flat major was summed up by Shostakovich as a ‘symphony for trumpet and orchestra’. Shostakovich’s own playful Concerto No.1, Op. 35 is recorded here with Timofei Dokschizer’s extended trumpet part, bringing it closer to the Baroque ‘double concerto’ model that the composer may initially have intended.
Alinde Quintet - a new star in the chamber music heavens At the prestigious ARD Competition in Munich in 2024, the Alinde Quintet emerged as a dazzling new star on the chamber music scene. By that time, they had already earned several notable prizes in London, Copenhagen, and beyond. The players are closely associated with leading Czech and international orchestras, including the Czech Philharmonic, the Gustav Mahler Jugendorchester, the BBC Symphony Orchestra, and the Royal Philharmonic Orchestra. On their debut album, the quintet presents the intimate "inscapes" of four composers. In the works of Haas and Shostakovich, the shadow of war and Nazi ideology casts a profound, even fatal shadow on their inscapes, while Shostakovich and Jan Novak also ran into conflict with Communist dictatorships. Yet all of the compositions reflect distinct personal inscapes, offering glimpses into the lives of their creators. Haas's imaginative quintet bears the unmistakable imprint of his teacher Leos Janacek, who had died just months before the work's completion. Shostakovich's Eighth String Quartet (arranged by Mark A. Popkin) serves as both autobiography and elegy - a dark, haunting inscape tinged with drama. In Peteris Vasks's composition, an ancient Latvian funeral song intertwines with virtuosic passages and aleatoric sections, evoking the heartrending loss of a kindred spirit. Like a contrasting colour on a canvas, the Concertino by Jan Novak brings the album infectious joy, playfulness, and jazzy rhythms, lending radiant colouring to the composer's inscape, which could not be obscured even by the dark clouds of Czechoslovakia's totalitarian regime of the 1950s. Throughout the album, the Alinde Quintet draws on the full spectrum of colours their instruments can offer, vividly painting each composer's inscape.
We begin with one of Shostakovich's earliest chamber works, the Cello Sonata, originally premiered by cellist Viktor Kubatsky with the composer at the piano. Kubatsky later transcribed the cello part for the viola with Shostakovich's approval. His version, along with subsequent transcriptions by Evgeny Strakov and Annette Bartholdy, adapted certain passages to suit the viola. For this recording, I chose to remain as faithful as possible to the original cello version, raising some passages by an octave to accommodate the viola's range. This is followed by Shostakovich's Impromptu, a brief but captivating piece discovered in 2017. The album concludes with Shostakovich's Viola Sonata, which stands as one of the cornerstones of the viola repertoire. Not only is it his final composition, but it's also one of his most profound. In this work, Shostakovich seems to bid a poignant farewell, weaving in quotations from his earlier pieces and even paying tribute to Beethoven in the final movement.
Music for Piano & Piano Quintet / Angel Stanislav Wang
Naxos
CD
$13.99$19.99Save 30%Dec 01, 2023
Angel Stanislav Wang (b. 2003, California), winner of the 2022 Jaén Prize International Piano Competition, presents his debut recital featuring Liszt’s monumental Sonata in B minor, and Shostakovich’s Piano Quintet in G minor accompanied by the Bretón String Quartet, plus excerpts from Granados's Goyescas and the competition imposed work Poema a un amor eterno by Laura Vega.
The career of conductor Rafael Kubelik (1914 – 1996) provides an interesting insight into the world of music in the twentieth century. Born the eighth child of the then world-famous violin virtuoso Jan Kubelik and his wife Countess Marianne Csaky-Szell, he was already commanding attention while he was studying piano, violin and composition at the Prague Conservatory between 1929 and 1933. In 1935 he embarked on a tour of the United States as his father's accompanist. The Czech Philharmonic Orchestra (which Vaclav Talich raised to the status of a top European orchestra) hired him as its conductor in 1936. When, the following year, Talich fell ill during a tour of western Europe, Kubelik filled in for him and began consolidating his international reputation. Despite his tendency towards subversive programming (he often included works by banned composers), he was able to retain the post after taking it over in 1941. In the post-war period Kubelik’s work with the orchestra enriched the cultural life of his country and in 1946 he became one of the founders of the Prague Spring Festival. Kubelik defected in 1948, though, in protest against the communist dictatorship in Czechoslovakia. His three-year term as Music Director of the Chicago Symphony Orchestra ended as a result of the ill will born him by the music critic Claudia Cassidy. His time as Music Director of The Royal Opera at Covent Garden was brought to an end because of opposition from Sir Thomas Beecham. Nevertheless, among orchestra musicians he was one of the most well-liked and esteemed conductors. His openness, fair moral principles and the friendly working atmosphere he created brought him a degree of recognition which even produced award-winning results in the recording studio.
