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Herbert Kegel - SSS0036 Helbert Kegel Conductor Shostakovich: Symphony No. 9, No. 5 - Import CD
Herbert Kegel - SSS0036 Helbert Kegel Conductor Shostakovich: Symphony No. 9, No. 5 - Import CD
CD
Classical Music
Opera
23. November 2004
Will usually ship within 1~5 business days of receiving cleared payment.
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Catalog No.: SSS00362
JAN/ISBN: 4560250650364
Number of Discs: 1
Country/Region of Manufacture: Import
Credits:
Herbert Kegel
Description:
[Herbert Kegel’s Shostakovich: Selected Symphonies—The Long-Awaited Individual Release Series] The long-awaited individual releases of Kegel’s Shostakovich: Selected Symphonies [SSS0040]—originally released in late 2003 and highly acclaimed by enthusiastic fans—are now available. Professor Xu Guangjun has commented on this collection of masterful performances, stating, “It demonstrates that Kegel viewed Shostakovich as an extension of German music—such as Wagner, Bruckner, and Brahms—emerging from classical music through the Romantic era.” Kegel’s particular fondness for Shostakovich is evident from his performance history, but I would especially like you to pay attention to the years in which these performances took place. The recording of Symphony No. 11, in particular, dates from 1958—less than half a year after the world premiere by Raklin and the Leningrad premiere by Mravinsky. Although it is a monaural recording, the sound quality surpasses that of the Mravinsky recording. With a poignant musical expression that avoids falling into tone clusters, this is a passionate, masterful performance in which one can even sense Kegel’s personal attachment to the music. Symphony No. 4 was originally recorded in stereo, but this is a superb recording with excellent channel separation—the stereo master was unfortunately apparently discarded. Today, many conductors take on these large-scale, high-volume symphonies, but I take my hat off to Kegel’s foresight in insisting on performing them twice during that era. Symphony No. 5, “The Revolution,” performed at the Berlin Arts Week, features bells in the finale that take the listener’s breath away. The “Symphony No. 6,” with its operatic flair; the stylish and exquisitely tasteful “Symphony No. 9”; “Symphony No. 14: Song of the Dead” (sung in German, which is rare today), which inevitably brings to mind *Das Lied von der Erde*; and “Symphony No. 15,” a terrifying performance that threatens to dethrone Zanderling’s dominance. Although largely unknown in the West, this is arguably the greatest legacy of Kegel, who was in fact one of the most important interpreters of Shostakovich.
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