Denis Matsuev, Valery Gergiev, Mariinsky Orchestra - Shostakovich & Shchedrin Piano Concertos

#777
Жанр: Classical
Годы записи: 2009,10
Год издания: 2013
Издатель (лейбл): Classic Sound
Аудиокодек: FLAC 24bit 48kHz
Тип рипа: tracks

Продолжительность: 73:32

Треклист:
Dmitri Shostakovish
01 Piano Concerto No 1: i. Allegretto moderato 5:50
02 Piano Concerto No 1: ii. Lento 7:51
03 Piano Concerto No 1: iii. Moderato 1:19
04 Piano Concerto No 1: iv. Allegro brio 6:48
05 Piano Concerto No 2: i. Allegro 7:34
06 Piano Concerto No 2: ii. Andante 5:32
07 Piano Concerto No 2: iii. Allegro 5:32
Rodion Shchedrin
08 Piano Concerto No 5: i. Allegretto moderato 13:32
09 Piano Concerto No 5: ii. Andante 10:30
10 Piano Concerto No 5: iii. Allegro assai 9:04



[spoiler="Мариинка"]

The Mariinsky label was launched in May 2009 with a ground-breaking recording of Shostakovich’s early opera The Nose, which received much praise and many awards. Gergiev continues to work his way through the Shostakovich oeuvre with the Mariinsky and here adds the two piano concertos, plus the fifth piano concerto by the popular Russian composer Rodion Shchedrin.

The soloist in all three concertos is the Siberian-born pianist Denis Matsuev, whose luminous sound and fluid playing is a bonus throughout. In the first and better-known Shostakovich concerto the Mariinsky’s trumpeter Timur Martynov emerges organically from the orchestra to add elegant solos and the madcap obbligato part in the final movement. The piece is a great vehicle for Matsuev’s jazz-like facility but Martynov more than matches him for brilliance in its final bars. One can’t help feeling that Shostakovich intended the trumpeter to steal the show in this piece and Martynov doesn’t disappoint with his rapid-fire delivery of the finale.

The second concerto, written a quarter of century later, explores similar territory but in a much denser, more symphonic fashion. Here the orchestra is allowed to shine in some searing tuttis. The deftness of its accompaniment is down to the maestro, who knows every note of this stuff, grabs it by the scruff of the neck and, at the appropriate moment, whirls it around. As presented here it’s an attractive work which deserves to be played more often than it is.

The Shchedrin proved to be an interesting work to round off this disc – much the same sound world as the Shostakovich in fact, and absolutely assured in its extension of Shostakovich’s musical language. Shchedrin describes the final movement of the work as an attempt to mimic the crescendo of Ravel’s Bol