Shostakovich - Symphony No. 8 in C minor Op. 65 / REMASTERED (Century's record.: Kirill Kondrashin)
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- เผยแพร่เมื่อ 17 พ.ค. 2024
- Dmitri Shostakovich (1906-1975) Symphony No. 8 by Kirill Kondrashin / Remastered.
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00:00 Symphony No. 8 in C minor, Op. 65 - I. Adagio, Allegro ma non troppo, Allegro, Adagio
23:56 Symphony No. 8 in C minor, Op. 65 - II. Allegretto
29:43 Symphony No. 8 in C minor, Op. 65 - III. Allegro non troppo
35:46 Symphony No. 8 in C minor, Op. 65 - IV. Largo
44:14 Symphony No. 8 in C minor, Op. 65 - V. Allegretto, Allegro, Adagio, Allegretto, Andante
Moscow Philharmonic Orchestra
Conductor: Kirill Kondrashin
Recorded in 1961
New mastering in 2022 by AB for CMRR
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As in the 7th symphony, the 1st movement, Adagio - Allegro non troppo is of unusual breadth and length (longer than the 2nd, 3rd and 4th movements put together) and once again, close to the Mahlerian example. It opens with a tense and dramatic motif in the strings. This is no mere facile sentiment, but conveys an emotional sincerity which touches the listener deeply. In the development which follows, the melodic line is often dissonant and dramatic differences in dynamic are avoided. It develops in stages, the strings remain dominant with the same distant/close-to effects that have been observed as early as the 4th symphony. The wind enter progressively and a build-up puctuated by snare drums and timpani leads to a climax which then disintegrates. An accelerating cavalcade on horn and xylophone leads to another, far more violent and wild climax which ends with clamorous brass over dull rumblings of percussion. This quickly fades away into an atmosphere of depression. There follows a long oboe solo over a tissue of sound, first distant, then close-to, woven by the strings. Threatening alarms herald the return of the opening motif, then equilibrium returns and distant strings lead to silence.
The 2nd movement, Allegretto, begins in vigorous march rhythm, similar to the second movement of the 5th symphony, more ironic in spirit than truly sarcastic, with an oafish bassoon and chirruping piccolo. The ensuing upsurge is intended as an authoritative state ment, undermined by the dislocated rhythm and sudden conclusion.
The Allegro non Troppo which follows takes up the jerky rhythm in the strings with ludicrous interruptions from the piccolo. The rhythm becomes increasingly unbalanced and the piccolo motif invades the entire orchestra. A grotesque, exaggerated fanfare is heard lea ding to a climactic fortissimo, the most violent in the entire work, punctuated by the tomtom. The agitation slowly dies away and ends with distant strings creating a gossamer web of sound.
The 4th movement, Largo, begins with a flute solo which is taken up by a clarinet. The atmosphere is cold, wintery and once again, far-away. This is yet another impressive passage, which paradoxically, is "closed" in a manner of speaking by the effect of spatialization. A lively theme opens the 5th movement, Allegretto. As before, the composer avoids using dynamics to obtain an effect. The atmosphere is relaxed, almost serene, the development, long. A dialogue, devoid of aggression, takes place between the wind. The tension increases, an ironic note is sounded, although any hint of excess is avoided. Once again, the strings dominate and this leads to another climactic fortissimo, as violent as it is brief. Calm is restored and several solos, variations on the initial theme from the 1st movement, lead into the conclusion with its impressive, barely audible, pianissimo effect. This is surely one of Shostakovich’s most impressive closing passages, demonstrating his astonishing mastery of orchestration.
Shostakovich - Symphony No. 4 in C minor, Op. 43 / REMASTERED (Century's record.: Kirill Kondrashin): • Shostakovich - Symphon...
Dmitri Shostakovich PLAYLIST (reference recordings): • Dmitri Dmitriyevich Sh... - เพลง
Dmitri Shostakovich (1906-1975) Symphony No. 8 by Kirill Kondrashin / Remastered.
🎧 Qobuz bit.ly/3xN8Sz1 Apple Music apple.co/3yc9srB
🎧 Amazon Music amzn.to/3y9mXbd Tidal bit.ly/3O8MFCm
🎧 Deezer bit.ly/3OyGHe0 Spotify spoti.fi/3tTS8Vt
🎧 TH-cam Music bit.ly/3ZWm4hX SoundCloud bit.ly/3TrS1fj
🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 …
Click to activate the English subtitles for the presentation (00:00-01:20)
00:00 Symphony No. 8 in C minor, Op. 65 - I. Adagio, Allegro ma non troppo, Allegro, Adagio (Re. 2022)
23:56 Symphony No. 8 in C minor, Op. 65 - II. Allegretto (Remastered 2022)
29:43 Symphony No. 8 in C minor, Op. 65 - III. Allegro non troppo (Remastered 2022)
35:46 Symphony No. 8 in C minor, Op. 65 - IV. Largo (Remastered 2022)
44:14 Symphony No. 8 in C minor, Op. 65 - V. Allegretto, Allegro, Adagio, Allegretto, Andante (Re. 2022)
Moscow Philharmonic Orchestra
Conductor: Kirill Kondrashin
Recorded in 1961
New mastering in 2022 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
As in the 7th symphony, the 1st movement, Adagio - Allegro non troppo is of unusual breadth and length (longer than the 2nd, 3rd and 4th movements put together) and once again, close to the Mahlerian example. It opens with a tense and dramatic motif in the strings. This is no mere facile sentiment, but conveys an emotional sincerity which touches the listener deeply. In the development which follows, the melodic line is often dissonant and dramatic differences in dynamic are avoided. It develops in stages, the strings remain dominant with the same distant/close-to effects that have been observed as early as the 4th symphony. The wind enter progressively and a build-up puctuated by snare drums and timpani leads to a climax which then disintegrates. An accelerating cavalcade on horn and xylophone leads to another, far more violent and wild climax which ends with clamorous brass over dull rumblings of percussion. This quickly fades away into an atmosphere of depression. There follows a long oboe solo over a tissue of sound, first distant, then close-to, woven by the strings. Threatening alarms herald the return of the opening motif, then equilibrium returns and distant strings lead to silence.
The 2nd movement, Allegretto, begins in vigorous march rhythm, similar to the second movement of the 5th symphony, more ironic in spirit than truly sarcastic, with an oafish bassoon and chirruping piccolo. The ensuing upsurge is intended as an authoritative state ment, undermined by the dislocated rhythm and sudden conclusion.
The Allegro non Troppo which follows takes up the jerky rhythm in the strings with ludicrous interruptions from the piccolo. The rhythm becomes increasingly unbalanced and the piccolo motif invades the entire orchestra. A grotesque, exaggerated fanfare is heard lea ding to a climactic fortissimo, the most violent in the entire work, punctuated by the tomtom. The agitation slowly dies away and ends with distant strings creating a gossamer web of sound.
The 4th movement, Largo, begins with a flute solo which is taken up by a clarinet. The atmosphere is cold, wintery and once again, far-away. This is yet another impressive passage, which paradoxically, is "closed" in a manner of speaking by the effect of spatialization. A lively theme opens the 5th movement, Allegretto. As before, the composer avoids using dynamics to obtain an effect. The atmosphere is relaxed, almost serene, the development, long. A dialogue, devoid of aggression, takes place between the wind. The tension increases, an ironic note is sounded, although any hint of excess is avoided. Once again, the strings dominate and this leads to another climactic fortissimo, as violent as it is brief. Calm is restored and several solos, variations on the initial theme from the 1st movement, lead into the conclusion with its impressive, barely audible, pianissimo effect. This is surely one of Shostakovich’s most impressive closing passages, demonstrating his astonishing mastery of orchestration.
Shostakovich - Symphony No. 4 in C minor, Op. 43 / REMASTERED (Century's record.: Kirill Kondrashin): th-cam.com/video/jhduhUbeZLg/w-d-xo.html
Dmitri Shostakovich PLAYLIST (reference recordings): th-cam.com/video/kqjxlpzfND0/w-d-xo.html
This wonderful symphony got him sanctioned in 1948 - by 'the party' - thought police Zhadnov. The shrillness of the scoring in this is beyond good. The climax of the adagio in stanza 1 is beyond renown, and the English horn solo remains on my list of things to play on oboe to this day! MAESTRO!
My favorite version of this powerful, mammoth, symphony. These unrelenting notes, saturated with sorrow, pain, and rage, exhaust me more than any other.
The best rendition of this magnificent symphony!
Loving this series by Kirill Kondrashin, my favourite interpreter of Shostakovich.
The greatness of Shostakovich‘s works is immeasurable and indescribable
This performance‘s splendor of words can not arrive
Большое спасибо! Моя любимая симфония этого автора! К слову, Кондрашин - это на мой взгляд, лучший исполнитель Шостаковича.
Ovo je takodje simfonija Dmitrija Šostakoviča kojoj se bezgranično divim!Slažem se i sa vašim mišljenje da je Kondrasin najbolji interpretator velikog kompozitora...Dodaci i to da verujem da niko kao Šostakovič nije bolje muzički izrazio bol!💔🖤💔🖤💔
@@ljiljanastanic9076 Точно! Когда мне плохо - то я иногда слушаю эту симфонию.) А иногда - альтовый концерт Шнитке... Ну конечно же не только когда плохо!)) Один раз я встретил Новый Год слушая эту симфонию, а следующий год - слушая пятнадцатую, я её тоже обожаю!) Оба раза не пожалел.)) Вообще мечтаю найти клавир этой симфонии и записать в фортепианной транскрипции. В интернете клавир, к сожалению, пока не нашёл. Нашёл только пятую и то, только для двух роялей.
@@anriariani Na You tube postoje skoro sve Sostakoviceve simfonije u izvodjenju Kondrasina
Thanks for this and the other splendid Kondrashin uploads. The echo of Mahler's influence in Shostakovich symphonies is among the principal reasons I enjoy them.
As in the 7th symphony, the 1st movement, Adagio - Allegro non troppo is of unusual breadth and length (longer than the 2nd, 3rd and 4th movements put together) and once again, close to the Mahlerian example. It opens with a tense and dramatic motif in the strings. This is no mere facile sentiment, but conveys an emotional sincerity which touches the listener deeply. In the development which follows, the melodic line is often dissonant and dramatic differences in dynamic are avoided. It develops in stages, the strings remain dominant with the same distant/close-to effects that have been observed as early as the 4th symphony. The wind enter progressively and a build-up puctuated by snare drums and timpani leads to a climax which then disintegrates. An accelerating cavalcade on horn and xylophone leads to another, far more violent and wild climax which ends with clamorous brass over dull rumblings of percussion. This quickly fades away into an atmosphere of depression. There follows a long oboe solo over a tissue of sound, first distant, then close-to, woven by the strings. Threatening alarms herald the return of the opening motif, then equilibrium returns and distant strings lead to silence.
The 2nd movement, Allegretto, begins in vigorous march rhythm, similar to the second movement of the 5th symphony, more ironic in spirit than truly sarcastic, with an oafish bassoon and chirruping piccolo. The ensuing upsurge is intended as an authoritative state ment, undermined by the dislocated rhythm and sudden conclusion.
The Allegro non Troppo which follows takes up the jerky rhythm in the strings with ludicrous interruptions from the piccolo. The rhythm becomes increasingly unbalanced and the piccolo motif invades the entire orchestra. A grotesque, exaggerated fanfare is heard lea ding to a climactic fortissimo, the most violent in the entire work, punctuated by the tomtom. The agitation slowly dies away and ends with distant strings creating a gossamer web of sound.
The 4th movement, Largo, begins with a flute solo which is taken up by a clarinet. The atmosphere is cold, wintery and once again, far-away. This is yet another impressive passage, which paradoxically, is "closed" in a manner of speaking by the effect of spatialization. A lively theme opens the 5th movement, Allegretto. As before, the composer avoids using dynamics to obtain an effect. The atmosphere is relaxed, almost serene, the development, long. A dialogue, devoid of aggression, takes place between the wind. The tension increases, an ironic note is sounded, although any hint of excess is avoided. Once again, the strings dominate and this leads to another climactic fortissimo, as violent as it is brief. Calm is restored and several solos, variations on the initial theme from the 1st movement, lead into the conclusion with its impressive, barely audible, pianissimo effect. This is surely one of Shostakovich’s most impressive closing passages, demonstrating his astonishing mastery of orchestration.
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Ho apprezzato moltissimo tutta l'intera descrizione e la forbita spiegazione di ogni singolo movimento... Grazie....cercherò di seguirti in ogni tuo inserimento.. In ogni tuo video
If we note that this symphony was written in 1943, when the nazis invaded a great part of the USSR but were stopped at the gates of Moskaw and defeated in Stalingrad leaving millions of USSR civilians dead, we can think that is is perhaps the only one in which Shostakovich's mind and official musical policy were more or less on line - not speaking of the language itself, of course.
Thanks for this excellent recording.
I'm going to a concert in 2days to listen to his 11th.
What a great composer who bravely wrote against the tyranny he was subjected to by his troglodyte govt. Triumph of the human spirit.
10:00 And here, dear listeners, we get one of the most violent development sections Shostakovich ever designed. And of course Kondrashin is the one to bring the harshest out of it.
HOLY ****.... This is a killer rendition!
This work is a good example of the situation that you today need a lot of atonality to find a sound event harmonious.
THANK YOU
Excellent, thank you !
Great job by Alexandre Bak !
Grear plassure. Thank you so much.
Wunderschöne und detaillierte Interpretation dieser neoklassischen und perfekt komponierten Sinfonie mit seidigen Tönen aller Streicher, milden Tönen aller Holzbläser und brillanten Tönen aller Blechbläser. Der dritte Satz klingt echt lebhaft und auch bedrohlich. Im Kontrast klingt der vierte Satz echt kalt doch bezaubernd. Der intelligente und unvergleichliche Dirigent leitet das ausgezeichnete Orchester im veränderlichen Tempo und mit perfekt kontrollierter Dynamik. Die vesbesserte Tonqualität ist auch erstaunlich hoch als eine Originalaufnahme von mehr als sechzig Jahren vor. Alles ist wundervoll!
Muchas Gracias por compartir esta obra maestra.
This is so good. Thank you CM/RR.
Suban todas las sinfonías de Shostakovich remasterizadas, gracias.
thank U
Next symphony 5 and 10 pls :-)
Gostei.
Realmente lendo os comentários dá pra sentir o momento em que drama vivião
What a terrifying piece, really do wonder what was on his mind when he wrote it.
The horror and desolation of the war. The Second World War. The cold of winter. The bodies lying on the snow. The insanity of the war. Dispair. Madness. Solitude. Death.😢
Is 2:23 a reference to his Leningrad symphony? Sounds like a quotation of the triumphant finale theme, except it collapses in on itself in despair
A reference to a later symphony?
@@rogerblakely8462 Leningrad is Symphony No. 7, the preceding one
My fault. I was listening to a piece of Kondrashin’s recording of the 4th, but by the time I got to the comments the next video in the queue had popped up and I didn’t notice.
Shostakovich very often quoted himself in his works, so it doesn't seem unlikely that this is a reference to the 7th.
There's lot of quotations from the 7th here. So called «Nazi attack» theme starts and immediately dies out in the very beginning in 0:58 and 4:00 and I believe you can find reminiscence of the «Soviet» theme somewhere as well. It is as both of them are now dying or dead on the battlefield, with no vitality left.
Also Prokofiev's 8th Symphony starts as though it emerges right from the 1st part of Shostakovitch's 8th. Everything is so entangled here...
... 🙏❤️
🌞❤🌞
At the very beginning of the track, it seemed a little like the old Mission Impossible tv series theme.
Or vice-versa.
good music, but...this man/composer was really in pain, true?
Certainly, just like in his earlier life as Schumann.
@@HansDunkelberg1 hard times in Europe the 20th century
@@daroanvimusen I expect another incarnation of this individual on Mars, and it's plausible that certain troubles could continue, there.
Adagio is cosmos of pain!!
爆炎だなぁ。説得力すごい。ムラヴィンスキーを超えてる。
Come nella quarta mi pare forte la vicinanza a Mahler
Большое спасибо! Моя любимая симфония этого автора! К слову, Кондрашин - это на мой взгляд, лучший исполнитель Шостаковича.
а как же Мравинский?
@@MarkVidov Тоже люблю.) Долго колебался, кого люблю больше.)