This recording won Gramophone’s recording of the year in 2021 in the Concerto category, although it is a symphony for violin.
Written at the request of David Ostraikh in the late 1940s, it was not performed until after Stalin was dead, thanks to the near total cultural repression following the Zdhanov Decree. There are numerous quotes, the scherzo is mostly a fabulous reworking of a theme from Lady Macbeth (the discovery of Boris Timofeyevich‘s murder), that follows into a Beethovian opening. The famous DSCH signature first appears at the start of the scherzo and then again in the cadenza, plus lots of klezmer tunes into the final movement.
It’s a joy and a nightmare, amazing playing and a very high quality recording.
It is a bit spooky listening to it, thinking that it was performed after Khrushchev had effectively denounced Zdhanov, and now Putin seems to have turned back the clocks.
Unfortunately I couldn’t find it on Qobuz. I have settled for a 7 CD album of Italian Baroque featuring Banchini. That should keep me out of mischief for a day or two!
Great recording! Your comments, no doubt, refer to the first concerto. The second concerto is also quite good and was premiered by Oistrakh roughly 20 years after the first concerto.
Thanks for posting!
Found a sealed Red Seal box set of five concertos for $30 on eBay, could not resist and bought it. The CD is also very nice (No. 5 only). Recorded in Kingsway Hall by Kenneth Wilkinson.
Thanks for sharing! To be honest I am still stuck in old times don’t know much about recent year classical music releases / musicians, if any good performance / recording that worth collecting.
Hi xianharris, I agree. I have listened to some recent year DG releases and didn’t strike me as connected as I would like, not even compared to 1990s’s DG releases. Recording could be good, but some of magic is lacking, I don’t know if it is just me feel that way. Therefore I have been focusing on legacy recordings instead (living in the past). I am expecting some great conductors and musicians to emerge, however given this day and age, culture shifting and changes, don’t know when the next big excitement will arrive. As you know, the charisma of legacy conductors / musicians have a lot more to do with their skills. I want to stay curious since this will be life long interests / hobby (classical is in my blood).
There are lots of young conductors. Robin Ticciati is only 39, director of Deutsches Symphonie-Orchester Berlin and Glyndeboune Opera. He’s guest conducting in Pittsburgh and San Francisco in January. Mirga Gražinytė-Tyla has already been with the CBSO for 5 years, has a major contract with DG and is still only 35. Here in London the conductor of the Philharmonic is also 35 and the director of the Paris and Oslo orchestras is only 25. Incidentally, the Oslo Symphony is superb, I’ve heard them in Oslo, also their opera company. I went to the first performance by a new young conductor at the Royal Ballet only last week.
Relying on DG won’t get you far. There is far less money to be made in recording these days. Many orchestras release their own material, often live records, such as the London Symphony (in DSD) and the London Philharmonic, most recently under Jurowski, who is still only 50.
There are great instrumentalists in every generation. How do you compare Isserlis to Casals? Singers fade away. Heard Gheorghiu last year in Tosca and she struggled. Oropesa two weeks ago in Alcina, she’s at the top of her game. Seeing Tosca tonight with Malin Byström, can’t wait.
Thanks a lot Steven, this is the info I am looking for. I feel a bit more encouraged and like to explore, embrace and support classical music. I guess I need to consider changing my way as well, maybe try out the streaming in order to get access to more music / independent releases. I am going to bookmark that webpage. cheers!
Apparently Vanska arranged for Kortekangas to be commissioned to write this piece for The Minnesota Orchestra. According to wiki in 100+ years they have yet to have an American-born musical director. Why is that?
Vanska has a deserved reputation and has completed Sibelius, Beethoven symphony and concerto (with Yevgeny Subdin) cycles. I made a point to go and hear him some years back, with Subdin, with a terrific piece of Finnish music. A very memorable concert. Over here they just call him “Osmo”.
In the States we currently don’t have an American music director/conductor at any of the “major” orchestras. Someone can correct me if I’m wrong, but I believe MTT in San Fran was the last American music director of the so-called “top 5.” We could probably extend to “top 10” and still not find an American music director.
I hope Thomas Søndergård is a good choice to replace Vanska. I haven’t heard him live, and I’m only familiar with the below recording, but judging by his past programs/recordings he’s at least open to conducting works by living composers…that’s important to me.
I’m hoping that James Gaffigan will be well received as the upcoming General Music Director of Komische Oper Berlin and then be recruited back to the States. I’ve been most impressed with his recordings that I’ve heard, particularly his Prokofiev cycle.
