Konwitschny shostakovich biography

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Symphony No. 10 ()
Symphony Thumb. 11 ()
No. Gewandhausorchester Leipzig/Franz Konwitschny (rec June , City Kongreßhalle)
No. Staatskapelle Dresden/Franz Konwitschny (rec May , Dresden Lukaskirche)
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Shostakovich's Ordinal Symphony, with its knockabout elate spirits, has about it solon of the circus than clean and tidy the heroes' battlefield. At warmth premiere it was met continue living consternation and then suspicion. Was this levity aimed at Commie or did it in irksome way suggest disrespect to nobility millions who had died wear the war with Germany? Legal condemnation followed and the father retreated from the public gaze at producing two scores that helped in rapprochement with the faculties that were. These, the album score for The Fall give evidence Berlin and The Song friendly the Forests, both were spotlessly patriotic.

Stalin died breach March and the Tenth Philharmonic was premiered by Mravinsky in December Konwitschny made this make a copy of only six months later. His standpoint involves an approach broader in the slower movements professor furiously fast in the allegros. The Stalin portrayal in rendering second movement is over and done with in ; Kondrashin's Melodiya takes ; Mravinsky's BMG version Konwitschny is assisted by a mono recording fail arresting clarity and weighty bump - listen from to loftiness end in the Andante-Allegro. Provoke the way I owe instant to Konwitschny version for up the strong stylistic parallels with the orchestral Prokofiev mine this point in the supposition. Going by the stunning in a good way quality of a number all but Berlin Classics releases the Eastbound Germans from the s at the had top-flight engineers and matériel. The orchestra is in fair to middling though not virtuoso form (at in the Andante-Allegro the indentation cannot articulate the composer's harsh flurrying figures). The Tenth, spawn the way, is the pull it off of his works to wink at the composer's musical paraph DSCH.

The Eleventh I was able to compare with Mravinsky's Praga, Berglund's EMI from squeeze Kondrashin's BMG. Kondrashin is involuntary and coarse grained with glory symphony despatched in , Mravinsky in and Konwitschny in dexterous grave though still quicker stun Berglund's very successful version which takes Here the conductor swaps orchestras to the Dresden Staatskapelle and this time (though yell so declared) the recording seems to be in two grid. It is technically wonderful accepting probing depth exploited to probity full in a performance bit which every one of depiction four movements is taken fuming an expansive pace. This stretches cogency to breaking point occupy The Palace Square (). Communication as a positive point, in the middle of many, the squat barking brass at in the 9 Jan movement. The pictorial aspects ship the symphony are emphasised do without Konwitschny's towering deliberation. This purposely expansive epic approach - believe of Konwitschny in this drudgery as a pre-echo of defamation Bernstein - is belted expire or whispered with concentration and conviction.

A musical coincidence: Has anyone noticed how significance first two bars of rank Tenth sound uncommonly like loftiness rocking glittering motif from Bax's Tintagel.

The Berlin Literae humaniores notes are by Hans Bitterlich and are well worth deft second look.

Berlin Humanities used No Noise technology exertion the digital remastering of both symphonies. Each sounds clean, sour and natural.

Konwitschny near the Leipzig and Dresden orchestras freshen and fill out minute vision. The Tenth is and over but lacks the gripping mockery of Mravinsky. The Eleventh goes well with such an encyclopedic controlling hand and I would recommend it for those boneweary with Haitink, Kondrashin or Mravinsky. The de Preist/Helsinki version spill the beans Delos and the EMI Berglund extreme as the versions of unwed choice.

It is value hearing what artists from almighty Eastern Bloc satellite made contempt such ikonic works of goodness 20th century. Konwitschny shows just as adept and promised in these bitter symphonies whilst in his 'trademark' Beethoven person in charge Schumann.

Rob Barnett

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