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Shostakovich: Violin Concerto No. 1 etc. - Spivakov

Shostakovich: Violin Concerto No. 1 etc. - Spivakov

Capriccio  71 004/1-2 (2 discs)

Stereo/Multichannel Hybrid

Classical - Orchestral


Shostakovich: Violin Concerto No. 1, Lady Macbeth of Mtsensk (Suite)

Vladimir Spivakov
James Conlon

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Review by Graham Williams - January 18, 2006

The CD version of this release occupies one disc lasting 78m 55s, but this hybrid SACD has each of the two works on separate discs offered for the price of one. This is a sensible idea as it is unlikely that anyone would want to play each of these searing pieces consecutively without a break.

Disc 1 contains Vladimir Spivakov’s richly nuanced performance of the Violin Concerto No. 1, an intense and haunting work written in 1948 and given its first performance by the dedicatee David Oistrakh in 1955.
The soloist is fairly closely balanced, but not overly so, and Conlon accompanies with much sensitivity throughout. Although, for some, this performance may not displace other recent versions, notably Maxim Vengerov with his dazzling playing in the Scherzo and Burlesque, it is remarkably fine in its own right and is certainly on a par with the best available. The sound is both vivid and clean and benefits from the excellent acoustic of the Köln Philharmonie.

The 41 min suite that James Conlon made in 1991 from Shostakovich’s controversial opera Lady Macbeth of Mtsensk that so upset Stalin occupies the second disc. It is truly superb.
Colon is a fervent advocate of this work in the opera house, and the suite that he has put together here, which expands the orchestral interludes found in the opera, captures the power and lustful passions of the piece in eight well-contrasted sections.
His performance has terrific energy and rhythmic drive and the orchestra responds magnificently. Listen to the shattering opening of ‘In the Court of the Ismailovs’, the baleful brass at the start of the ‘Passacaglia’ and the spooky violin solo that follows, or the stunning timpani at the start of the final section ‘In Exile’.

The DSD recording (using 4 channels) has tremendous impact and a huge dynamic range, perfectly captured by the engineers with no sense of strain. The rear channels are used more discreetly than is often the case, but still provide enough sound to enhance the, almost overwhelming, listening experience.

Copyright © 2006 Graham Williams and HRAudio.net

Performance:

Sonics (Multichannel):

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