Dmitri Shostakovich: Concerto for Piano, Trumpet and String Orchestra No. 1 (Vinyl 180g)

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1 LP 

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Νέο!2 Αυγούστου 2022

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Dmitri Shostakovich

Piano Concerto No. 1 in C minor for piano, trumpet & strings, Op. 35

Symphony No. 9 in E flat major, Op. 70

Καλλιτέχνες

Yefim Bronfman (Piano), Hannes Läubin (Trumpet)

Symphonieorchester des Bayerischen Rundfunks
Mariss Jansons (Μαέστρος)

“More and more Shostakovich’s music captivates and touches people all over the world. Like hardly any other, it is a testimony to a difficult political epoch and at the same time a timeless expression of existential human feelings and experiences. For me personally” – said conductor Mariss Jansons, who died two years ago – “Shostakovich is one of the most serious and sincere composers ever.” Now BR-KLASSIK is releasing two outstanding interpretations on vinyl: the impressive Concerto for Piano, Trumpet and String Orchestra and the Ninth Symphony by the eminent Russian-Soviet composer – interpreted live by the Bavarian Radio Symphony Orchestra under its long-time principal conductor Mariss Jansons.

Shostakovich’s (first) piano concerto offers effective piano virtuosity, bold experimentation, persiflage and caricature of diverse musical directions. It was written in the summer of 1933, only a few weeks after the completion of his opera “Lady Macbeth of Mtsensk”. He himself called it a “mocking challenge to the conservative-serious character of the classical concerto gesture.” It is in this concerto that the immense range that the still carefree 26-year-old composer knew how to make use of in the splendor of his talent becomes apparent. He combines a wealth of musical thoughts and ideas into a colorful and fascinating kaleidoscope. He alludes to themes by Haydn and Beethoven, demands Lisztian virtuosity and a masterly command of the instrument from the pianist, and awakens romantic moods which he immediately breaks again with humor. Despite this abundance of different stimuli, the concerto does not seem chaotic or overloaded: The young Shostakovich effortlessly maintained balance.

The composer performed a similar (but this time highly dangerous) balancing act between creative work and conformity to the state in his Ninth Symphony, which was premiered on November 3, 1945 before a disappointed, perplexed audience in Moscow: Instead of the expected heroic-regime-conformist orchestral thunder along the lines of the seventh “Leningrad Symphony,” a playful music was heard, without pathos, rather shrewd and full of allusions, in which something does not seem quite right. A musical conundrum full of ironic refractions, caricatures of pathetic triumphant music – recognized by the censors as a masquerade, but not easily decipherable. Shostakovich had mocked Stalin without the latter noticing.

Mariss Jansons, considered an expert in the Slavic repertoire as well as in the symphonic music of the 19th and 20th centuries, presented these two masterfully playful works to concert audiences in Munich and Vienna: the piano concerto was recorded in October 2012 in the Herkulessaal of the Residenz, the ninth symphony in March 2011 in the Great Hall of the Vienna Musikverein. – Yefim Bronfman, an internationally sought-after pianist, sat in on the solo instrument, repeatedly praised for his exemplary interpretations of Shostakovich’s piano concertos. At his side, Hannes Läubin took the solo trumpet.