Kirill Kondrashin -肖斯塔科维奇交响曲全集 Shostakovich Complete Symphonies MPO[Flac][增加Phil

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资源信息： 专辑英文名: Shostakovich Complete Symphonies 专辑中文名: 肖斯塔科维奇交响曲全集 艺术家: Kirill Kondrashin 版本: MPO[Flac][增加Philips版肖6°及尼尔森第5°交响曲] 发行时间: 1994年 地区: 俄罗斯 概述:

作曲：Dmitri Shostakovich 指挥：Kirill Kondrashin 乐团：Moscow Philharmonic Orchestra 合唱团：Choirs of the Russian Republic, Alexander Yourlov, Conductor 录音时间：Moscow, 1962 - 1975 CD编号：AMC 2-043-1-10 (Aulos Music), Melodiya 7432119839~48-2 资源出处：eMule search 专辑介绍： 苏俄指挥大师康德拉辛(1914-1981)年青时就学于莫斯科音乐院，是著名教授凯金的高足。他担任过波修剧场、苏联国家交响乐团和莫斯科爱乐的音乐总监，首演过肖斯塔科维奇《第4号交响曲》、《第12号交响曲》和《第13号交响曲》，1978年投奔自由获荷兰政治庇护，出任阿姆斯特丹大会堂管弦乐团首席指挥，可惜在接掌巴伐利亚广播交响乐团音乐总监前夕因心脏病去世。 康德拉辛是苏俄指挥学院派的代表人物，也是肖斯塔科维奇的同代人，对作曲家的经历及生活环境有深切的了解。因此他以粗犷、厚重及充满戏剧化的手法诠释出来的音乐有让人身临其境之感，他对肖氏交响曲中许多弱音和强音的处理相当独特，也善于运用内在具体意象来达成特殊情调和效果。 本辑取自1962-75年间康德拉辛担任莫斯科爱乐音乐总监时的著名录音，由于演出录音精彩异常，苏俄 Melodiya(旋律)与Aulos Classics(韩国Saehan Media获Melodiya正规许可，挂名制造的CD商品)唱片公司特别将之出版为全集纪念盘。与海廷克(Bernard Haitink)的全集版比较，康德拉辛给人更多的是感官的体验；海廷克的诠释则是留下更多让人思索的空间。同样的作品，因各自的切入点不同，最后都能殊途同归用音乐对人生作出了深刻的揭示，或许这就是古典音乐唱片版本比较的奇妙魅力所在。(魔术号角)

Shostakovich (left), with the conductor Kiril Kondrashin and poet Yevgeny Yevtushenko at the premiere of the composer's controversial 13th symphony. Kondrashin's Shostakovich cycle Kyrill Kondrashin (left, with Shostakovich) was principal conductor of the Moscow Philharmonic Orchestra from 1960 to 1975. A friend of the composer for 40 years, he saw him as "the moral conscience of music in Russia" and made a close study of his symphonies, which he insisted were "inseparable from the events of the composer's life". (For Kondrashin's views on Shostakovich's symphonies, see the accompanying) Formerly available on Le Chant du Monde and now reissued on Melodiya, Kondrashin's cycle offers a vital insight into Shostakovich's world. http://ecx.images-amazon.com/images/I/411CFXS4FHL._AA240_.jpg Symphonies Nos. 1 and 12 [Melodiya 7432119848-2] Russian productions are often oddly balanced and the giant clarinet that leaps out at the listener at the beginning of Kondrashin's 1973 recording of the First is typical - although none of these discs suffers from the spotlighting inflicted on Rozhdestvensky's Olympia series. Fortunately, Kondrashin's fader-aided soloists are always characterful, his general line being, where necessary, to trade beauty of tone for dramatic expression. Within these parameters, his First is one of the best, the finest current alternative being Bernstein [Sony SMK 47614]. While some conductors try to impose sincerity on its ambiguous Adagio, no version of the Twelfth attempts much in the way of unusual interpretation. Kondrashin drives the fast music as furiously as Mravinsky on Praga [PR 054217]; it's a toss-up as to which is top of the list. (Ignore recommendations for Ogan Durjan's Philips version, which squares the rhythms and falls flat in the Adagio). http://ecx.images-amazon.com/images/I/61A886CRW1L._AA240_.gif Symphonies Nos. 2 and 14 [Melodiya 7432119844-2] Kondrashin's remains the sharpest Second, with more impulse and closer detail than his rivals. Igor Blazhkov's l965 premiere recording [Russian Disc RDCD 11195] moves as propulsively, but is comparatively prosaic. The securest Fourteenth is still Barshai's 1970 studio version, currently unavailable. Surpassing it in intensity, although roughly recorded and slightly blemished in accuracy, is the same conductor's superb live version with Vishnevskaya from 1969 [Russian Disc RDCD 11192]. Kondrashin comes in a fair third, his main attraction being the dramatic bass of Yevgeny Nesterenko. http://ecx.images-amazon.com/images/I/41DAGFSDN6L._AA240_.jpg Symphonies Nos. 3 and 5 [Melodiya 7432119845-2] Kondrashin's Shostakovich is marked by rapid tempos and his Third Symphony drives the fast passages hard. Fortunately he is sensitive to the ominous mood of the slower music, and his recording is the best of a field which otherwise offers only Rostropovich [Teldec 4509-90853-2] as competition. Kondrashin's Fifth, though, is rather too impulsive, thwarting penetration and preventing atmosphere. In this symphony, Ancerl and the Czech Philharmonic [Supraphon 1110676-2] ideally combine clarity and passion, while Rozhdestvensky [Olympia OCD 113] is, theatrically, in a class of his own. http://ecx.images-amazon.com/images/I/61F9E1HA32L._AA240_.gif Symphony No. 4 [Melodiya 7432119840-2] No need to hesitate. This première recording is a historic document - an untamed masterpiece resurrected after 26 years of suspended animation in a blazing performance unmatched since it was made in 1962. http://ecx.images-amazon.com/images/I/41ZQHERK5XL._AA240_.jpg Symphonies Nos. 6 and 10 [Melodiya 7432119847-2] Kondrashin's Sixth is controversial. Stressing its anger and tension, his Largo is far from the gloomy icescape favoured by his slow-moving Western rivals. If Mravinsky is definitive here, Kondrashin beats him in the fast movements, revealing their irony by pushing them less frantically. Mravinsky's l965 recording is deleted, though a fair facsimile, made in Czechoslovakia in 1955, is available [Praga PR 254017]. Kondrashin's live 1968 version with the Concertgebouw ([Philips 438283-2], coupled with Nielsen's Fifth) intensifies the tempo traits of his studio date. Perhaps because of his anxiety to reproduce every nuance of the score (he is almost alone in stressing the squeezed crescendos in the scherzo), Kondrashin's deeply engaged Tenth lacks his usual spontaneity, though it's well worth studying. Mravinsky's 1954 mono version [Saga EC3366-2] is uniquely masterful, while Skrowaczewski [IMP Classics PCD 2043] leads the digital field. http://ecx.images-amazon.com/images/I/6156MMZ1P4L._AA240_.gif Symphony No. 7 [Melodiya 7432119839-2] For Kondrashin, Shostakovich s music was "essentially about the struggle against fascism - that eternal evil which, though it may change its name, seems indestructible, sustained by the impulses of brutality". By this, he meant not just Nazism but also Stalinism and similar political abominations. "One can no more ignore this background in the Seventh and Eighth symphonies," he insisted, "than one can overlook the programme of Tchaikovsky's Fourth." The last of his cycle to be recorded (in 1975), Kondrashin's Seventh is a sombre, introspective performance in which the pointedly faux naif voice of the yurodivy features strongly - a real experience rather than a showpiece or pseudo-tragedy. The best CD Seventh is Karel Ancerl's 1959 studio version [Supraphon 111952-2] - though the disc's ambience lacks the immediacy of the original LPs. Kondrashin's is a thoughtful and illuminating second choice: the best Russian Seventh. http://ecx.images-amazon.com/images/I/61CC5TQ5P0L._AA240_.gif Symphony No. 8 [Melodiya 7432119841-2] This is quintessentially one of Mravinsky's symphonies; of his three versions, only the 1982 one [Philips 422442-2] is currently available. From 1961, Kondrashin's studio recording of the Eighth was the first in his cycle and remains among the finest of the alternatives. An angry - and very fast - live performance, taped in Prague in 1969, is available on Praga [PR 250040]. http://ecx.images-amazon.com/images/I/41HETP8J1GL._AA240_.jpg Symphonies Nos. 9 and 15 [Melodiya 7432119846-2] Kondrashin "owns" the Ninth almost as much as the Fourth and Thirteenth, each of which he premiered. His studio reading of 1965 is a classic, while his live version with the Concertgebouw - his conception virtually identical after 15 years - is only slightly less tight and incisive, for which a more rounded sound and an outstanding bassoonist readily compensate [Philips 438284-2]. These are the best Ninths on disc. (Avoid Istvan Kurtz's often-praised version which fatally distorts the second movement.) Probably charged by his father's presence, Maxim Shostakovich's 1972 première recording of the Fifteenth remains top choice and his finest 45 minutes. Sadly, it's deleted. Kondrashin doesn't match Maxim in the first Adagio's climax and pushes the first Allegretto to the limit of articulation. The rest, while very good, lacks his usual compelling quality, as if he hadn't completed his inner picture of what it meant. http://ecx.images-amazon.com/images/I/61Z6WRGE45L._AA240_.gif Symphony No. 11 [Melodiya 7432119843-2] Kondrashin believed the Eleventh and Twelfth were "associative as well as illustrative; that is, they throw out a bridge between historical events and the present". By "the present", he meant things happening around the time they were composed - in the case of the Eleventh, the Soviet repression of the Hungarian Revolution and the (ironically, simultaneous) release of millions of political prisoners from the Gulag. His Eleventh - very fast - comes third behind Mravinsky's great 1960 studio version (Melodiya, deleted) and the same conductor's live 1967 date in Prague [Praga PR 254018]. http://ecx.images-amazon.com/images/I/61H653JYD2L._AA240_.gif Symphony No. 13 [Melodiya 7432119842-2] Like his Fourth, Kondrashin's 1967 version of Shostakovich's first openly dissident symphony remains unequalled, although his live 1962 recording [Russian Disc RDCD 11191] runs it close. His 1980 performance with John Shirley-Quirk (Philips, deleted) is of lower intensity but offers better sound. (Music under Soviet rule) ————————————————————————————

SYMPHONY No.13 in B flat minor, Op.113 “Babi Yar” (live) [Russian Disc RDCD 11191] This is the best. The recording was unofficial. It was December 20th 1962, a follow up of the premiere two days earlier. Soviet authorities were not amused. You can hear all the nervous coughing of smoking Muscovites. Vitaly Gromadsky was I think the third bass they cheered up for the role. Did he sing again? Listening to the record is akin to being taken to the Large Hall amidst emotional strain. It is not enough for the composer to have joined the Party and composed his eleventh. He has never been further away from the true dissidents, mostly exiled. He risks becoming a conformist. But Mariya Yudina, the pianist, is quoted, 'With his 13th he has become one of us again'. They had attended the Petrograd Conservatory together. It sounds as if the choir, bass and orchestra really have something to say. Of course Kirill Kondrashin's genius matters. I have nowhere found another performance of Babi Yar remotely as good. This one gives me chills and sometimes sweat, and I am not a nervous man. I can wholeheartedly recommend it. (amazon_Stefan Steinsson) 2008.1.30更新—————————————————————————

Composer Dmitri Shostakovich (1906-1975) Title VENEЦИЯ - Kirill Kondrashin Work Listings Dmitri Shostakovich: Symphonies Nos. 1 & 12 (The Complete Symphonies Disc 1) Performer(s) Kirill Kondrashin Moscow Philharmonic Symphony Orchestra Label Veneция Catalogue Number CDVE04241 Release Date 2006.1.16 Credit eMule search 这张CD是俄罗斯Veneция公司2006年再版发行的肖斯塔科维奇交响曲全集12-CD set中的Disc 1，与之前发布的韩国Aulos/Melodiya全集版大包里的CD1应属同一录音、但Veneция版音质更优(个人听感)。 更新的RAR里包含flac、cue、log文件及封面封底大图。 PS：Veneция这套全集box-set在eMule只能找到此CD1，因此以后不会再更新其余CDs。 2008.02.28更新—————————————————————————

Composer Dmitri Shostakovich (1906-1975) Title PHILIPS - THE KONDRASHIN RECORDINGS Work Listings Dmitri Shostakovich: Symphonies No. 6 Carl Nielsen: Symphony No. 5 Performer(s) Kirill Kondrashin Royal Concertgebouw Orchestra, Amsterdam Recordings (live) Concertgebouw, Amsterdam 21 January 1968 (Shostakovich) 20 November 1980 (Nielsen) Label Philips Classics Catalogue Number 438 283-2 Release Date 1993 Credit eMule search 作品介绍： 肖斯塔科维奇的《第六交响曲》又叫作“带有两个谐谑曲”的交响曲，1939年11月5日在列宁格勒由列宁格勒爱乐乐队首次演出，E·A·姆拉文斯基指挥；总谱于1941年由国家音乐出版社第一次出版。此曲比前一个交响曲的篇幅要小，各乐章之间独特的安排曾引起了某些乐评家的困惑不解——通常在三个乐章的交响曲中慢乐章是处在两个快乐章之间，而此曲在慢的第一乐章以后接着出现与它形成非常强烈的对比的两个快的乐章——谐谑曲和终曲，就如解脱开头的Largo的深刻悲观哲理。这样的结构可能使人想起古典的四个乐章的交响曲中的第二，第三和第四乐章(慢乐章，谐谑曲，终曲)的排列。就其实质说，开头的Largo把哲理的探索，悲壮的抒情，强烈表达的感情的特点溶于一炉，这些特点在前面的第五交响曲中是分布在第一和第三乐章之间(也就说在这里没有第五交响曲第一乐章的那种冲突——戏剧性的发展)。 卡尔‧尼尔森被公认是丹麦最伟大的作曲家。年轻时曾加入军乐队开始接触音乐，其后才进入哥本哈根音乐院接受正统的训练。离开音乐院后，任职于皇家剧院交响乐团的第二小提琴手，多年后并接任指挥之职，但他最大的成就还是在作曲方面。尼尔森的作风受葛利格、李斯特、加代等人的影响，自丹麦民族样式的后期浪漫主义出发，到后期则采用印象主义，多调、半音阶进行曲等。 尼尔森的《第5号交响曲》则完成于1922年，虽只有两个乐章，但各有数段不同速度的部份《太阳神序曲》是1903年他旅行希腊时看到爱琴海的上升的太阳，甚受感动而作。全曲刻画无序入侵有序的惊惧幻影，小鼓在曲中扮演重要角色，而开头不久中提琴组延续一百多小节的顽固低音，也极具创意。尼尔森共创作了六首交响曲，《第5交响曲》也是他最重要的作品。(搜集整理) 专辑曲目: Dmitri Shostakovich (1906-1975) CD 1 SYMPHONY No.1 in F Minor, Op.10 1. Allegretto. Allegro ma non troppo 2. Allegro 3. Lento 4. Allegro molto, Lento Allegro molto Recorded: July 19, 1972 SYMPHONY No.12 in D Minor, Op.112, “1917” 5. Revolutionary “Petrograd”: Moderato, Allegro 6. Allegro 7. Aurora: Allegro 8. Down of Humanity: Allegro, Allegretto Recorded: December 13, 1972 Moscow Philharmonic Orchestra Kirill Kondrashin, Conductor Total time 68:59 CD 2 SYMPHONY No.2 1. in B Major, Op.14, “October” Recorded: November 29, 1972 SYMPHONY No.14 For Soprano, Bass, String Orchestra and Percussion, Op.135 2. De Profundis (Garcia-Lorca) 3. Malaguena (Garcia-Lorca) 4. Loreley (Apollinaire) 5. The Suicide (Apollinaire) 6. On Watch (Appollinaire) 7. Madam! Look (Apollinaire) 8. In the Sante (Apollinaire) 9. The Zaporogian Cossacks’ Reply to the Sultan of Constantinople (Appolinaire) 10. O Delvig, Delvig! (Kuchelbecker) 11. Death of the Poet (Rilke) 12. Conclusion (Rilke) Recorded: November 24, 1974 Evgenya Tselovalnik, Soprano / Evgeny Nesterenko, Bass / Ensemble of soloists from the Moscow Philharmonic Orchestra / Choirs of the Russian Republic / Alexander Yourlov, Conductor (2) Moscow Philharmonic Orchestra / Kirill Kondrashin, Conductor (1&2) CD 3 SYMPHONY No.3 1. in E Flat Major, Op.20, “The First of May” SYMPHONY No.5 in D Minor, Op.47 2. Moderato. Allegro non troppo. Moderato 3. Allegretto 4. Largo 5. Allegro non troppo. Allegro Recorded: March 27, 1968 Choirs of the Russian Republic, Alexander Yourlov, Conductor (1) Moscow Philharmonic Orchestra (1 & 2) Kirill Kondrashin, Conductor Total time 68:16 CD 4 SYMPHONY No.4 1. Allegro poco moderato 2. Moderato con moto 3. Largo. Allegro Recorded in 1962 Moscow Philharmonic Orchestra Kirill Kondrashin, Conductor Total time 60:02 CD 5 SYMPHONY No.6 in B Minor, Op.54 1. Largo 2. Allegro 3. Presto Recorded: September 15, 1967 SYMPHONY No.10 in E Minor, Op.93 1. Moderato 2. Allegro 3. Allegretto 4. Andante. Allegro Recorded: September 24, 1973 Moscow Philharmonic Orchestra Kirill Kondrashin, Conductor Total time 75:34 CD 6 SYMPHONY No.7 in C Major, Op.60 "Leningrad" 1. Allegretto 2. Moderato (poco allegretto) 3. Adagio 4. Allegro non troppo Recorded: July 3, 1975 Moscow Philharmonic Orchestra Kirill Kondrashin, Conductor Total time 71:10 CD 7 SYMPHONY No.8 in C Minor, Op.65 1. Adagio. Allegro ma non troppo. Allegro. Adagio 2. Allegretto 3. Allegro non troppo 4. Largo 5. Allegretto. Allegro. Adagio. Allegretto. Andante Recorded: April 11, 1967 Moscow Philharmonic Orchestra Kirill Kondrashin, Conductor Total time 56:36 CD 8 SYMPHONY No.9 in E Flat Major, Op.70 1. Allegro 2. Moderato. Adagio 3. Presto 4. Largo 5. Allegretto. Allegro Recorded: March 20, 1965 SYMPHONY No.15 in A Major, Op.141 6. Allegretto 7. Adagio. Largo. Adagio. Largo 8. Allegretto 9. Adagio. Allegretto. Adagio. Allegretto Recorded: May 27, 1974 Moscow Philharmonic Orchestra Kirill Kondrashin, Conductor Total time 64:46 CD 9 SYMPHONY No.11 in G Minor, Op.103 1. The Palace Square (Adagio) 2. January 9th (Allegro) 3. In Memoriam (Adagio) 4. Tocsin (Allegro non troppo) Recorded: September 7, 1973 Moscow Philharmonic Orchestra Kirill Kondrashin, Conductor Total time 56:54 CD 10 SYMPHONY No.13 in B flat minor, Op.113 For Bass Solo, Bass Choir and Orchestra in B Flat Minor, Op.113, “Babi Yar” 1. Babi -Yar (Adagio) 2. Humour (Allegretto) 3. In the Store (Adagio) 4. Fears (Largo) 5. A Career (Allegretto) Recorded: August 23, 1967 Arthur Eisen, Bass Choirs of the Russian Republic Alexander Yourlov, Conductor Moscow Philharmonic Orchestra Kirill Kondrashin, Conductor Total time 56:06 ————————————————— CD 11 SYMPHONY No.13 in B flat minor, Op.113 For Bass Solo, Bass Choir and Orchestra in B Flat Minor, Op.113, “Babi Yar” 1. Babi -Yar (Adagio) 2. Humour (Allegretto) 3. In the Store (Adagio) 4. Fears (Largo) 5. A Career (Allegretto) Recorded live in the Large Hall of the Moscow Conservatory on December 20, 1962 With State Academic Choir, Yurlov Russian Choir, Vitaly Gromadsky (bass) Moscow Philharmonic Orchestra Kirill Kondrashin, Conductor Total time 56:35 2008.01.30——————————————— Veneция - Disc 1 Symphony No. 1 in F Minor Op.10 1. Allegretto. Allegro ma non troppo 2. Allegro 3. Lento 4. Allegretto. Allegro molt Symphony No. 12 in D Minor Op.112 '1917' 5. Revolutionary 'Petrograd': Moderato, Al 6. Razliv: Allegro. Adagio 7. Aurora: Allegro 8. The down of Humanity: Allegro. Allegretto 2008.02.28————————————— PHILIPS Shostakovich, Dmitri - Symphony No.6 I - Largo II - Allegro III - Presto Nielsen, Carl - Symphony No. 5 I - Tempo giusto - Adagio ma non troppo II - Allegro - Presto - Andante un poco tranquillo - Allegro 本资源来自Emule搜寻，感谢原发布人的慷慨！ (CD1—CD11均为分轨flac、有内封套大图)