Shostakovich String Quartets 7, 8, and 9 are right in the middle of his output in the genre. This recording by the Brodsky String Quartet is more lyrical and relaxed than many interpretations of the same pieces.

“Petrenko and the RLPO have achieved a triumph. The orchestral playing is ripe, detailed, lithe, concentrated and intense.” – The Telegraph on Symphony No. 10

“The final instalment of Petrenko’s remarkable Liverpool Shostakovich cycle is a world-class achievement.” – The Sunday Times on Symphony No. 13

“This is a model of clarity… yet another Petrenko performance to join the greats.” – BBC Music Magazine on Symphony No. 8

Featuring the Royal Liverpool Philharmonic orchestra and Choir conducted by Vasily Petrenko
Additional featured choirs:
The Huddersfield Choral Society; Royal Liverpool Philharmonic Choir, male section.
Vocal soloists: Gal James, soprano; Alexander Vinogradov, bass.

Classical Music

Shostakovich: Piano Concertos Nos. 1 and 2

A modern and visionary work, this ballet, set to music by Dmitri Shostakovich, was created in 1930. It's central theme was the highly moralized battle and triumph of the proletariat against the decadent bourgeoisie, set in europe during the roaring twenties. Surprisingly, the score by Shsotakovich raised political controversies, probably because it borrowed much to European dance forms and consequently, the ballet vanished from the theaters until 1982, when Yuri Grigorovich restaged it with sets by Sion Virsaladze and a completely new libretto mainly revolving around the love story between Rita, a cabaret dancer, and Boris, a young idealist. The conflict in teh original production was also recast as a clash between fishermen - the morally superior workers - and society's criminal elements. To bring back on stage The Golden Age in autumn 2016, a few months prior to Yuri Grigorovich's 90th birthday, was a highly symbolic choice for the Bolshoi Ballet: this work, teh last Grigorovich would ever choreograph for his company, hadn't been staged for almost 10 years. A rare and refined ballet, which ran the risk of falling into oblivion twice, is danced by the new generation of the Bolshoi Ballet, among which Nina Kaptsova et Mikhail Lobukhin.

A modern and visionary work, this ballet, set to music by Dmitri Shostakovich, was created in 1930. It's central theme was the highly moralized battle and triumph of the proletariat against the decadent bourgeoisie, set in europe during the roaring twenties. Surprisingly, the score by Shsotakovich raised political controversies, probably because it borrowed much to European dance forms and consequently, the ballet vanished from the theaters until 1982, when Yuri Grigorovich restaged it with sets by Sion Virsaladze and a completely new libretto mainly revolving around the love story between Rita, a cabaret dancer, and Boris, a young idealist. The conflict in teh original production was also recast as a clash between fishermen - the morally superior workers - and society's criminal elements. To bring back on stage The Golden Age in autumn 2016, a few months prior to Yuri Grigorovich's 90th birthday, was a highly symbolic choice for the Bolshoi Ballet: this work, teh last Grigorovich would ever choreograph for his company, hadn't been staged for almost 10 years. A rare and refined ballet, which ran the risk of falling into oblivion twice, is danced by the new generation of the Bolshoi Ballet, among which Nina Kaptsova et Mikhail Lobukhin.

SHOSTAKOVICH: Symphony No. 10

Shostakovich: Symphonies Nos. 5 & 9

Shostakovich's 14th Symphony is actually more of a song cycle, made up of settings of poems by Lorca, Rilke and others, centered around the topic of death, scored for soprano, bass and chamber orchestra augmented by a variety of percussion instruments. This symphony, perhaps, one of the best darkest, pessimist works ever written (with Mahler's 6th Symphony, Sibelius 4th Symphony, Vaughan Williams' 4th and 6th Symphonies)... This work, be constituted in 11 movements and based on poems by F. Garcia Lorca (in 1 and 2), G. Appolinairre (3 -8), W. K�chelbecker (9) and Rainer M. Rilke (10 and 11). I impressed especially, 3rd mvt: Lorelei, At the Sante Jail, O Delvig, Delvig! And a short Conclusion (1 mnt. ) Shostakovich was used 12-tone system for the first and last time in this work. Only, the 9th movement, "O Delvig, Delvig!" written in D-flat Major and I think, this is the most romantic movement of symphony and comes without a break and suddenly after 8th movement which tells a war between Cosscaks and Byzantines. And after this tense music, suddenly comes a romantic and sentimental music from violas and violoncellos which tells a love story.

The Eleventh Symphony of Shostakovich was at one time seen abroad as mere Soviet propaganda, crudely cinematic programme music in support of Communism. With hindsight, colored by Volkov's Testimony, the work may be regarded very differently. At home it proved acceptable to the official musical establishment. In 1958 the composer was awarded the Lenin Prize and the Party condemnation of 1948 was withdrawn, attributed now to Stalinist excesses, under the malign influence of Molotov, Malenkov and Beria. The work is scored for a large orchestra, which includes xylophone, celesta, tubular bells and a possible four harps, in addition to the usual woodwind and brass and a suggested total of eighty string players. The somber first movement opens with muted strings and harps, followed by the entry of the timpani with a triplet rhythm figure and the Mahlerian sound of a muted trumpet fanfare. Into the texture he weaves two songs of nineteenth century political prisoners, Listen and The Prisoner. The second movement, introduced now by unmuted strings, brings the agitation and terror of the Cossack assault on the peaceful demonstrators, including here references to earlier compositions. In Memoriam mourns the victims of oppression, entrusted at first to the lower strings, and the composer continues to make use of themes popularly associated with the incidents of 1905 and the aspirations of the people. The last movement of a work that offers a vast canvas of historical and contemporary relevance, never descending to the level of a programmatic collage, has the title Nabat (Tocsin), a warning bell, the name of a review published by the exiled revolutionary Tkachev in Geneva, advocating violence in the cause of reform. The chosen title may be understood in a double sense in a movement that transcends the circumstances of it's composition. The Czecho-Slovak Radio Symphony Orchestra (Bratislava), the oldest symphonic ensemble in Slovakia, was founded in 1929. The orchestra's first conductor was Franti�ek Dyk and over the past sixty years it has worked under the direction of several prominent Czech and Slovak conductors. The orchestra has made many recordings for the Naxos label ranging from the ballet music of Tchaikovsky to more modern works by composers such as Copland, Britten and Prokofiev. Ladislav Slovak was born in 1919 in the Slovak capital, Bratislava, where, in spite of straitened circumstances, he completed his earlier musical training at the City Music School and subsequently at the Bratislava Conservatory. As a conductor he was greatly influenced by Vaclav Talich in Bratislava and from 1954 by Yevgeni Mravinsky, to whom he served as assistant in Leningrad. For some two years Slovak attended Mravinsky's rehearsals with the Leningrad Philharmonic Orchestra of the symphonies of Shostakovich, including first performances of Symphonies Nos. 11 and 12. In these rehearsals Shostakovich was present, hearing his music in performance for the first time and rarely interfering, except for occasional adjustments of tempi. He had great confidence in Mravinsky, with whom there was collaboration at the profoundest musical level. Slovak was privileged often to take part in discussions on problems of performance between Mravinsky and Shostakovich, and also learned much from other conductors, including the second conductor of the Leningrad Philharmonic, Kurt Sanderling. On his return to Czecho-Slovakia Slovak was appointed Conductor-in-Chief of the Czecho-Slovak Radio Symphony Orchestra in Bratislava, with guest engagements with the Czech Philharmonic Orchestra, which he conducted on an extended world tour to the Far East, Australasia and Russia in 1959. In 1961 he was appointed Conductor-in-Chief of the Slovak Philharmonic Orchestra and has continued with similar appointments as far afield as Australia and with a busy career as a guest conductor. His early working collaboration with Mravinsky and Shostakovich has led to performances of particular authority, in particular of the latter's fifteen symphonies.

SHOSTAKOVICH: Symphony No. 8

Shostakovich: Symphony No. 7, 'Leningrad'

SHOSTAKOVICH: Symphony No. 13, 'Babi Yar'

SHOSTAKOVICH: Symphonies Nos. 6 and 12

SHOSTAKOVICH: Symphony No. 4