All thanks for this beauty go to Jean-Luc
Kiril Kondrashin was the leader of the Moscow Philharmonic Symphony Orchestra in recordings from 1965 – 1975. Like Mravinsky’s Shostakovich, this is an authentic Russian interpretation, fast and raw. The recording quality is excellent for its time. Kondrashin knew Shostakovich personally and conducted the premieres of the Fourth Symphony (composed in 1936 but not publicly performed until 1961), the Thirteenth Symphony (1962) as well as the Second Violin Concerto (1967). The Fifteenth Symphony (1971) was not premiered by him; this version was recorded in 1974.
Composer: Dmitri Shostakovich
Orchestra: Moscow Philharmonic Symphony Orchestra
Conductor: Kirill Kondrashin
Number of discs: 1
DR-Analysis: DR 15
Size: 803 MB
When Shostakovich composed his last symphony, he knew he was living on borrowed time. Despite that, the first movement is one of the headiest of his entire output, a curious feature of the work among several puzzling elements. No one, for example, has given a satisfactory explanation of why he quoted the galloping theme from Rossini’s William Tell overture. Thirty-two years before, he had also used the theme (though less explicitly) in the last movement of the Sixth Symphony; that it must have meant something to him from early on is all anyone can say. Nor does Shostakovich’s remark that the movement represented a toy shop explain why he wrote it that way.
In any case, Kondrashin brilliantly drives the orchestra with such pace and energy that it has impelled the Gramophone reviewer to write of “deserting the toy shop for the asylum.” (I love that!) Then the mood shifts. The second movement is predominantly a funeral march. Along with the ominous-sounding fourth movement that starts with Wagner quotations, it casts a heavy shadow relieved only by the brief, vibrant and witty allegretto third movement. There is something momentous about the second and fourth movements, which Kondrashin brings out by deliberate pacing of the music as he leads the orchestra to powerful climaxes.
The finale does include a lyrical theme introduced shortly after the start, and which is repeated toward the end, before the soft tap-tap of chimes and other percussion effects brings the work to an emotional, resigned conclusion. It is as if Shostakovich, now fully aware of his mortality, were saying, So be it. The Fifteenth is in my estimation one of Shostakovich’s best five or six symphonies. Kondrashin and the Moscow Philharmonic have done more than a capable job with this performance.
|Symphony No. 15 In A Major, Op. 141|
Analyzed folder: /96k Shostakovich – Symphony No. 15 – Kondrashin
DR Peak RMS Filename
DR14 -1.50 dB -21.16 dB A1 Symphony No. 15 in A Major, Op. 141 – I. Allegretto.aif
DR15 -0.86 dB -22.81 dB A2 Symphony No. 15 in A Major, Op. 141 – II. Adagio-Largo-Adagio-Largo.aif
DR15 -2.53 dB -23.49 dB B1 Symphony No. 15 in A Major, Op. 141 – III. Allegretto.aif
DR16 -0.45 dB -23.95 dB B2 Symphony No. 15 in A Major, Op. 141 – IV. Adagio-Allegretto-Adagio-Allegretto.aif
Number of files: 4
Official DR value: DR15
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
- Cartridge: Sumiko Black Bird
Cartridge: ZYX 50R Bloom
- Phono amp: Audio Research SP15 own tube phono section
- ADC/DAC: RME Fireface UC
- Pre Amp: Audio Research SP15
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
- Software: iZotope RX 4 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.9
- Super light de-clicking with iZotope, significant clicks manually removing, no de-noising
- DR-Analisys before converting to Flac
- Converting Wave -> Flac: Twisted Wave 1.9
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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