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Chostakovitch: Symphony No. 8 Super Audio CD
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Digital Booklet: Shostakovich: Symphony No. 8
Digital Booklet: Shostakovich: Symphony No. 8
Description du produit
L’Ottava Sinfonia di Dmitri Shostakovich esprime gli orrori della guerra con un realismo davvero sconvolgente. Nel 1948 le autorità sovietiche misero sotto accusa Shostakovich per avere scritto un’opera dai contenuti pessimistici, che non celebrava adeguatamente la sfolgorante vittoria ottenuta dall’esercito russo contro la minaccia nazista. In effetti, questa sinfonia non è un’opera di propaganda, ma un lavoro pervaso da una inesprimibile angoscia, incentrata non solo sulle devastazioni causate dalla seconda guerra mondiale, ma anche dalle sofferenze patite dal popolo russo sotto il regime di Stalin. Questo disco rappresenta il terzo volume dell’integrale delle sinfonie di Shostakovich avviata dalla Pentatone nell’anno che ha visto le celebrazioni del centenario del celebre compositore sovietico. Il fil rouge di questa integrale è rappresentato dalla Russian National Orchestra – una delle formazioni migliori del mondo in questo genere di repertorio – di volta in volta guidata da un direttore diverso. L’onore di dirigere l’Ottava è stato riservato a Paavo Berglund, un direttore di immenso carisma che riesce a esprimere fino in fondo lo spirito dolente di questa suggestiva sinfonia. Un disco da ascoltare assolutamente!
Commentaires client les plus utiles sur Amazon.com
The recorded sound is impressive for a live concert, and at the ultra-bargain price that this CD goes for at Amazon Marketplace, it's very attractive -- indeed, Fedoseyev's reading can go up against the best from Previn and Gergiev, and far outstrips Rostropovich and Jansons. Only the two great Mravinsky recordings (a studio version on Philips, concert version on BBC Legends)rise above it. As an interpreter of Shostakovich, Fedoseyev favors depth of feeling over flash, and he doesn't set out to dazzle here. His musicianship is such that he holds one's attention form beginning to end, no smal feat in the massive Eighth -- if you are at all interested in this symphony, don't hesitate.
It all starts quite intensive with well judged, well carried tempo and an orchestra that is well rehearsed and well together, but as one gets farther into the listening, it becomes more and more obvious that the sound presentation is quite equalized; the upper midrange and the highs are added an extra push-shine-cut-through which is not natural. Moreover; the lowest bass attacks are subdued all over - it is like Pentatonbe decided it must "protect" your playback system from frequency extreme or that it is justified to add a bit of shimmer in case your speakers are incompetent when comes to detailed upper-midrange and treble.
It all boils down to Pentatone robbing the end result from the grandeur and impact that must have been there at the recording scene. This is an old fashion philosophy that prevailed with DGG recordings in the sixties and seventies were DGG concept was that the end product should sound acceptable on those mediocre playback systems - and sadly, that philosophy, is been erroneously digged-up and adopted of new by Pentatone.
To wit; the fourth movement (largo) which in many ways is the 'heart' of this symphony (magnificently orchestrated) is deprived of true impact if only for the reason that the explosive bass drum attacks are attenuated, while the whole sound perspective is compressed where it should have been left to bloom and swell according to the orchestra's impact and crescendo...but no.
Pentatone engineers got cold feet there and decided that such a bombastic explosive attack (as Shostakovitch placed in the score) would be beyond the dynamic capabilities of their (obsolete?) recording gear.
One can not ignore the feeling that the bass drum attack that should have describe a bombardment and horror is brought to sound mushy, restricted, and weak - the impact one is presented with at this passage could have been produced by the cattle-drum bitten harder, but no more than that...
What the listener is getting at that crucial moment is a cattle-drum-like (not even a bass-drum sound) that was recorded as if it emanates from within a narrow cave at the far right of the sound-stage.
This is a Pentatone sorts of travesty of a modern SACD technology, a technology capable of supporting dynamics in access of 120 dB; a technology which can encompass both micro-dynamics, wide frequency range and clarity surpassing what could have been achieved in the recording revenue up till now.
Looks like Petatone does not get it, looks like it is beyond their grasp or willingness to jump on the band-wagon.
Luckily, there are other SACD recordings of this symphony - and for more impact, tense reading, delivery of horror which is in the partitura, for more polished playing (especially from the brass section) - one is advised to turn to the BIS SACD recording - and not just for its sonic merits.
The two paired scherzos are the easiest movements to bring off, their shrieking bitterness expressing rage in the starkest terms. In the first Berglund's rhythms are fairly flat-footed, and the overall orchestral work can't compare with the best versions (two from Mravinsky, two from Previn). The second scherzo contrasts the mechanical round-and-round of the string part with eerily shrill interjections from the winds and brass. PentaTone's sonics are full and realistic but perhaps a bit too ambient. For many listeners the last two movements lack the impact of the earlier music, since Shostakovich supplies a gray, sorrowful backdrop that remains muted while many kinds of brief episodes, often recapping previous themes, crop up regularly. But this may well be the heart of the whole symphony, the Passacaglia serving as a kind of spiritual acceptance while never forgetting the violence that preceded it; the same feeling tapers into the finale, with its curdled circus music in the middle before the work's hushed, exhausted close. It's as if we've walked the path of a modern Passion, substituting millions of war victims for Christ.
As you can tell, I find this symphony immensely moving, and I believe Berglund does, too. He is supremely elegiac in the last two movements. Therefore, I am giving this CD an urgent recommendation without forgetting the other superb ones mentioned before.