Cheap Shostakovich: Symphony no 10 etc / Polyanksy, et al (Music) (Dmitry Shostakovich, Valery Polyansky, Oleg Dolgov, Anatoli Safiulin) Price
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| ARTIST: | Dmitry Shostakovich, Valery Polyansky, Oleg Dolgov, Anatoli Safiulin |
| CATEGORY: | Music |
| MANUFACTURER: | Chandos |
| MEDIA: | Audio CD |
| TRACKS: | Sym No.10 in e, Op.93: I. Moderato - Russian State SO/Valeri Polyansky, Sym No.10 in e, Op.93: II. Allegro - Russian State SO/Valeri Polyansky, Sym No.10 in e, Op.93: III. Allegretto - Russian State SO/Valeri Polyansky, Sym No.10 in e, Op.93: IV. Andante - Allegro - Russian State SO/Valeri Polyansky, The Big Lightning: 1. Ov - Russian State Symphonic Cappella, The Big Lightning: 2. Scene - Russian State Symphonic Cappella, The Big Lightning: 3. Song Of The Architect - Russian State Symphonic Cappella, The Big Lightning: 4. Scene With An American - Russian State Symphonic Cappella, The Big Lightning: 5. Mayofel's Song - Russian State Symphonic Cappella, The Big Lightning: 6. Telephone Calls - Russian State Symphonic Cappella, The Big Lightning: 7. Semyon's Song - Russian State Symphonic Cappella, The Big Lightning: 8. Duet Of Semyon And Yegor - Russian State Symphonic Cappella, The Big Lightning: 9. Procession Of Models - Russian State Symphonic Cappella |
| UPC: | 095115952221 |
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Customer Reviews of Shostakovich: Symphony no 10 etc / Polyanksy, et al
A Dark, Dark Shostakovich Tenth Valeri Polyansky has garnered his share of harsh reviews, the usual text of which is that his slow tempi vitiate the rhythmic vitality of the Russian scores that he chooses to record. I disagree. I think that his performances of Sergei Rachmaninov's Symphonies No. 2 and 3 (Chandos) bring out the colors of the composer's palette like no one else's. I have also found much to admire in his ongoing Shostakovich series, to which he now adds Symphony No. 10 (1953). Claiming no authority, I nevertheless hazard that Polyansky has been studying Furtwängler; at any rate he does analogously for Russian repertory what Furtwängler did for Beethoven and Brahms. We feel this deliberate slowing-down in the First Movement (Moderato). Where Karajan took 22.35, De Preist 21.37, Previn 21.28, and the composer himself in a two-piano reduction of the score (played with Moses Vainberg) 21.02 - Polyansky takes 23.24. (In the Fourth Movement [Andante - Allegro] he is slower than De Preist by thirty seconds and than Karajan by a full two minutes.) In addition to the slowing-down, Polyansky builds his orchestral textures from the bass register up; he therefore darkens and already dark score by foregrounding the important cello and bass parts. This symphony as much as any other by Shostakovich makes use of a kind of subterranean polyphony. The First Movement in particular depends on our awareness that the important ocurences are the deep ones away down in the acoustic depths. In the notorious Scherzo, allegedly a musical portrait of Stalin, Polyansky keeps pace with the fastest, gaining the maximum of contrast with the foregoing movement. The horns tell to stunning effect in the Allegretto, where the composer's musical signature, DSCH, emerges into prominence. Most of the slowing-down in the Fourth Movement occurs in its first half, the Andante, again for the purpose of preparing for the contrast of the Allegro. The coupling is the extremely rare (almost unknown) "Big Lightning," all that remains of a politically incorrect operetta that Shostakovich began in 1932, but swiftly abandoned. Thumbs up.