Information
Composer: Dmitri Shostakovich
- Jazz Suite No. 1: 1. Waltz
- Jazz Suite No. 1: 2. Polka
- Jazz Suite No. 1: 3. Foxtrot
- Concerto for piano, trumpet & strings (Piano Concerto No. 1) in C minor, Op. 35: 1. Allegretto
- Concerto for piano, trumpet & strings (Piano Concerto No. 1) in C minor, Op. 35: 2. Lento
- Concerto for piano, trumpet & strings (Piano Concerto No. 1) in C minor, Op. 35: 3. Moderato
- Concerto for piano, trumpet & strings (Piano Concerto No. 1) in C minor, Op. 35: 4. Allegro con brio
- Jazz Suite No. 2: 1. March
- Jazz Suite No. 2: 2. Lyric Waltz
- Jazz Suite No. 2: 3. Dance I
- Jazz Suite No. 2: 4. Waltz I
- Jazz Suite No. 2: 5. Little Polka
- Jazz Suite No. 2: 6. Waltz II
- Jazz Suite No. 2: 7. Dance II
- Jazz Suite No. 2: 8. Finale
- Tahiti Trot (after Vincent Youmans' "Tea for Two")
Ronald Brautigam, piano (4-7)
Peter Masseurs, trumpet (4-7)
Royal Concertgebouw Orchestra
Riccardo Chailly, conductor
Date: 1988 (4-7), 1990 (1-3), 1991 (8-16)
Label: Decca
http://www.deccaclassics.com/us/cat/4337022
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Review
Shostakovich jazz
music? Taken at face value, this CD is nothing of the sort.
Shostakovich's lively and endearing forays into the popular music of his
time were just that, and light years away from the work of real jazz
masters such as, say Jelly Roll Morton or Duke Ellington And yet they do
say something significant about Shostakovich's experience of jazz, as a
comparison of these colourful, Chaplinesque Jazz Suite Suites
with roughly contemporaneous music by Gershwin Milhaud, Martinu MartinJ,
Roussel and others will prove. Shostakovich engaged in a particularly
brittle almost Mahlerian form of parody—his concert works are full of
it—and that is what comes across most powerfully
here. Besides, and as annotator Elizabeth Wilson rightly observes,
'real' jazz was treated with suspicion in Soviet Russia and
Shostakovich's exposure to it was therefore limited.
The two Jazz Suites were composed in the 1930s, the First in response to a competition to "raise the level of Soviet jazz from popular cafe café music to music with a professional status", the Second at the request of the then-newly formed State Orchestra for Jazz (!). The First will make you chuckle, but it is the Second (subtitled "Suite for Promenade Orchestra") that contains the best music, especially its achingly nostalgic Second Waltz. The instrumentation is light (saxophone and accordion add a touch of spice to a generally bland recipe), while the playing here is quite superb. In fact, there's little to be said about Chailly's direction other than it is good-humoured, affectionate and utterly professional, his Royal Concertgebouw players sound at home in every bar and the recording (Grotezaal, Concertgebouw) is both clean and ambient.
Taiti trot came to life when Nikolai Malko challenged Shostakovich to score Vincent Youmans's Tea for Two in an hour, or less—which he did, as a sort of mini-concerto for orchestra, each refrain being dealt to different instrumental forces. Fun that it is, its charm is terminal. Which leaves the Piano Concerto, music that for sophistication and inventive ingenuity is actually closer to what we now think of as jazz than the Jazz Suites (sample the free-wheeling, improvisatory opening to the last movement, on track 7). Ronald Brautigam's instrument is twangy at the bass end, which mightn't seem too inappropriate, but as it was recorded two years before the other items on the disc (1988), I doubt that that was the intention. Still, it's a lively, fairly intense reading, neatly supported by Chailly and trumpeter Peter Masseurs, but ultimately less memorable than Alexeev (CfP) or Jablonski (Decca), not to mention the less refined but notably characterful composer himself (EMI).
-- Rob Cowan, Gramophone
The two Jazz Suites were composed in the 1930s, the First in response to a competition to "raise the level of Soviet jazz from popular cafe café music to music with a professional status", the Second at the request of the then-newly formed State Orchestra for Jazz (!). The First will make you chuckle, but it is the Second (subtitled "Suite for Promenade Orchestra") that contains the best music, especially its achingly nostalgic Second Waltz. The instrumentation is light (saxophone and accordion add a touch of spice to a generally bland recipe), while the playing here is quite superb. In fact, there's little to be said about Chailly's direction other than it is good-humoured, affectionate and utterly professional, his Royal Concertgebouw players sound at home in every bar and the recording (Grotezaal, Concertgebouw) is both clean and ambient.
Taiti trot came to life when Nikolai Malko challenged Shostakovich to score Vincent Youmans's Tea for Two in an hour, or less—which he did, as a sort of mini-concerto for orchestra, each refrain being dealt to different instrumental forces. Fun that it is, its charm is terminal. Which leaves the Piano Concerto, music that for sophistication and inventive ingenuity is actually closer to what we now think of as jazz than the Jazz Suites (sample the free-wheeling, improvisatory opening to the last movement, on track 7). Ronald Brautigam's instrument is twangy at the bass end, which mightn't seem too inappropriate, but as it was recorded two years before the other items on the disc (1988), I doubt that that was the intention. Still, it's a lively, fairly intense reading, neatly supported by Chailly and trumpeter Peter Masseurs, but ultimately less memorable than Alexeev (CfP) or Jablonski (Decca), not to mention the less refined but notably characterful composer himself (EMI).
-- Rob Cowan, Gramophone
More reviews:
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Dmitri Shostakovich (25 September 1906 – 9 August 1975) was a Russian composer and pianist, and a prominent figure of 20th-century music. Shostakovich achieved fame in the Soviet Union, but later had a complex and difficult relationship with the government. Shostakovich's music is characterized by sharp contrasts, elements of the grotesque, and ambivalent tonality; the composer was also heavily influenced by the neo-classical style pioneered by Igor Stravinsky, and (especially in his symphonies) by the post-Romanticism associated with Gustav Mahler.
http://en.wikipedia.org/wiki/Dmitri_Shostakovich
http://en.wikipedia.org/wiki/Dmitri_Shostakovich
***
Riccardo Chailly (born 20 February 1953 in Milan) is an Italian conductor. He started his career as an opera conductor and gradually extended his repertoire to encompass symphonic music. Chailly was chief conductor of the Berlin Radio Symphony Orchestra (1982-1988) and Royal Concertgebouw Orchestra (1988-2004). He is currently chief conductor of the Gewandhausorchester Leipzig (since 2005). He recorded exclusively for Decca.
http://en.wikipedia.org/wiki/Riccardo_Chailly
http://en.wikipedia.org/wiki/Riccardo_Chailly
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