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Symphonie 15


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Audio CD, August 7, 2007
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$18.24
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song TitleArtist Time Price
listen  1. Symphony No. 15 in A Major, Op. 141: I. AllegrettoDresden Staatskapelle 7:00$0.99  Buy MP3 
listen  2. Symphony No. 15 in A Major, Op. 141: II. AdagioDresden Staatskapelle13:56Album Only
listen  3. Symphony No. 15 in A Major, Op. 141: III. AllegrettoDresden Staatskapelle 4:20$0.99  Buy MP3 
listen  4. Symphony No. 15 in A Major, Op. 141: IV. Adagio - AllegrettoDresden Staatskapelle17:19Album Only
listen  5. Theme and 8 VariationsDresden Staatskapelle18:11Album Only



Product Details

  • Audio CD (August 7, 2007)
  • Number of Discs: 1
  • Label: Profil
  • ASIN: B000QCTFQC
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #469,268 in Music (See Top 100 in Music)

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11 of 11 people found the following review helpful By J. F. Laurson on January 25, 2008
Format: Audio CD
"Profil - Edition Günter Hänssler" has been issuing more and more CDs from (old) German radio tapes that vie for a spot in the limelight of the mainstream. Especially some of the more recent performances of the Staatskapelle Dresden are immensely impressive. Bernhard Haitink's Bruckner 6 has already been mentioned earlier this year, a Mahler 9th with Guiseppe Sinopoli awaits a review, and Shostakovich's 15th Symphony with Kyrill Kondrashin makes this list.

On January 23rd, 1974 - just a little over a year before Shostakovich died - Kondrashin conducted his favorite German orchestra in a concert celebrating the 425th anniversary of the orchestra, the 50th anniversary of the christening of St. Petersburg as Leningrad, and the 30th anniversary of the break of the German siege of Leningrad.

The latest and last symphony of the great composer from St. Petersburg was a logical choice for this, but it wouldn't have escaped Kondrashin, or the Dresden audience, that it is uniquely unsuited to venerate the Soviet--or any communist--regime. After vocal symphonies 13 and 14, Shostakovich, fatally ill and well aware of it, returned to an almost classical form of the symphony.

In the essay that accompanied the recording of Maxim Shostakovich (said to be the best performance of Shostakovich's son on record - but to my knowledge not available on CD) Shostakovich spoke of the first movement Adagietto as a "toy-shop with plenty of knick-knacks and trinkets - absolutely cheerful". No listener will get away from the first movement without doubting the composer's own words. If it is a toy-shop at all, it's one that sells little tanks, toy-guns, and junior's first torture-kit.
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2 of 2 people found the following review helpful By Santa Fe Listener HALL OF FAMETOP 500 REVIEWER on November 19, 2008
Format: Audio CD Verified Purchase
This is a fascinating account of the enigmatic Sym. 15 that deserves wider recognition. Kiril Kondrashin and Yevgeny Mravinsky were the acknowledged masters at Shostakovich, one based in Moscow, the other in Leningrad. Here in a live setting we get to hear what Kondrashin sounds like apart from his Moscow Phil., with the world-class Dresden Staatskapelle instead. All the soloists play with far more finesse and nuance than their Soviet counterparts at the time, and Kondrashin has some decidedly personal ideas.

This becomes evident from the very fast tempo of the first movement, which turns the composer's quirky toy-shop ditties into something verging on manic -- Kondrashin adds an element of desperation to the fun. He also sets a more haunted, disembodied tone in the strange hollowness of the second movement, dramatically setting off the triumphant brass peroration to come. One gets the impression that the conductor is giving away psychological secrets that Shostakovich wanted to keep hidden. In the Scherzo, however, he pulls a reversal, eschewing the biting, sardonic quality of othr readings in favor of a light-footed witches sabbath, if the witches happened to be ghosts. Only in the finale, which Kondrashin plays as a somber farewell to music (and sanity?), do I feel that he loses momentum in favor of muted moodiness.

Otherwise, my enthusiasm is as great as the previous reviewer's in his exceptionally well-written review. Boris Tchaikovsky's Theme and 8 Variations begins very much in the scene-setting mood of the Shostakovich 11th as dawn comes up over the Winter Palace and proceds with a series of variations that also invokes ghosts of the past. It's in a very easily assimilated idiom, by the way, in case you are phobic about contemporary dis-harmony.

P.S. Nov.
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