Shostakovich - Symphony No. 5 in D minor, Op. 47 / Remastered (Century's record.: Kirill Kondrashin)

Dmitri Shostakovich (1906-1975) Symphony No. 5 by Kirill Kondrashin / Remastered.
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00:00 Symphony No. 5 in D minor, Op. 47 - I. Moderato, Allegro non troppo, Moderato
13:37 Symphony No. 5 in D minor, Op. 47 - II. Allegretto
18:55 Symphony No. 5 in D minor, Op. 47 - III. Largo
31:04 Symphony No. 5 in D minor, Op. 47 - IV. Allegro non troppo, Allegro

Moscow Philharmonic Orchestra
Conductor: Kirill Kondrashin
Recorded in 1964
New mastering in 2023 by AB for CMRR
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***COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT***

The first movement, Moderato, opens with a beautiful, very lyrical theme in the lower strings, developed by the violins. The atmosphere soon becomes heavy, however. A kind of sad lullaby is heard in the distance on the bassoon and clarinet. It comes closer and then recedes. The outline of a second theme is heard in the strings and is then taken up by a solo flute before the strings return to the first theme again. The second theme reappears in an atmosphere which is still melancholy and suddenly becomes louder (brass and piano). Irony is heard in the false cheerfulness of a general acceleration which develops to a racing rhythm before bursting open, heavy and oppressive. A strident xylophone joins in. A Mahlerian apotheosis culminates in an atmosphere which has become tragic and the second theme, hammered out like a question by the percussion reverberates then gradually fades away into the melancholy distance played by the wind against a background of lyrical, muted strings (remininscent of the finale of the 4th Symphony). There follows a lullaby-like violin solo, and the sound of a distant alarm from the brass and celesta.

The second movement, Allegretto, is a lively scherzo with somewhat heavy popular overtones. Here again the relationship with Mahler's ländlers is more than clear. The acid wit and sarcastic violin are characteristic of this. A near-waltz (mocking bassoon, pizzicato strings, xylophones) is heard several times and leads to a sudden conclusion.

The third movement, Largo, is the first of a long and magnificent series of largos which were to mark all Shostakovich's following symphonies. According to Volkov, its impact on the audience at the first performance was considerable. A string section brings out its sad lyricism and an increasingly sorrowful atmosphere envelopes the entire orchestra. The strings are now dominant, without any great differences in dynamic. A lovely cantilena (solo oboe) is heard in the distance over a background of almost imperceptible strings. The flute joins the oboe in a duet. Then the strings, still divided, together with the xylophone, bring tragedy back into the foreground. There follows a lyrical flight which fades to a pianissimo in an icy, rigid atmosphere (single notes fall from the harp) and the conclusion.

The fourth movement, Allegro non troppo, bursts forth victorious and triumphant, vulgar and bracing. False joy must be flaunted to appease the consciences of the tyrants. Frenzied strings gallop in almost Rossini-like fashion, pursuing we know not what unobtainable paradise. The brass and strident xylophone join in before a violent stroke on the tomtom puts an end to this race to the abyss. The lyrical theme from the Largo returns like a memory to trouble this effervescence. A theme is repeated obsessively in the strings. The joy motif returns, played at a slow tempo which modifies its character. The apotheosis is one of empty majesty.

Shostakovich: Symphony No. 8 by Kirill Kondrashin / Remastered.
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Shostakovich: Symphony No. 4 by Kirill Kondrashin / Remastered.
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Dmitri Shostakovich PLAYLIST (reference recordings): http://bit.ly/3lvxI49

Видео Shostakovich - Symphony No. 5 in D minor, Op. 47 / Remastered (Century's record.: Kirill Kondrashin) канала Classical Music/ /Reference Recording