<p><span><p><strong> Kitajenko's approach is simple and straightforward on
paper - 'take no prisoner'. Truly, he leaves no ounce of angst and
despair, the two essential elements of this strangely enigmatic but
powerful music, in his sleeves. Just listen to the way the timpanist
pounds his instrument loud and clear in the two inner movements
(actually, back to back Scherzos). It's rare that the percussion calls
for attention so authoritatively at these moments, but after you hear
it's done this way your perspective of the symphony will forever
change. Kitajenko also scales the dynamics of the entire symphony very wisely and carefully; the tragic, darkly brooding opening movement starts off
almost inaudibly, but as it comes near the central portion the music relentlessly builds to a stunning climax with all hells breaking loose. Under
Kitajenko's baton, the tension just kept on piling, so much so that I
once rushed to my amp to turn down the volume! Here and elsewhere,
especially in the Finale, the conductor applies the same principle
engulfing 100% of the emotional extremities out of the score. The
ending of the symphony which is one of the most magical moments in music, is done equally well giving all the emotional turmoil
and anger that have gone before away to the peaceful, elegiac conclusion. Most importantly, he gives this sprawling
score more cohesion and flow than any other conductors I know had done.
To put it simply, the symphony has never sounded so powerful and
cogent at the same time. </strong></p><p><strong></strong></p><p><strong> </strong></p><p><strong></strong></p><p><strong>So,
here is my bold statement: No other conductor and orchestra have
captured the soul and heart of Shostakovich's masterpiece better than
Kitajenko/Gurzenich Orchester Koln. Every Shosy lover owes to listen to
this great recording.</strong></p><p><strong> </strong></p><p><strong>It is a MUST.</strong></p><p><strong><br></strong></p><p><strong><br></strong></p><p style="text-align: center;"><img src="https://t1.daumcdn.net/cfile/cafe/01789E4F51AB3DEE14" class="txc-image" actualwidth="300" style="clear:none;float:none;" border="0" hspace="1" vspace="1" width="300" id="A_01789E4F51AB3DEE14AADD"/></p><p><strong><br></strong></p></span></p>
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첫댓글 제가 수십년간 들어본 그 많고 많은 녹음들 가운데 ... 최고중 하나라고 자신있게 말하렵니다.
삭제된 댓글 입니다.
hybrid SACD이므로 일반 플레이어에서도 플레이 됩니다.
지금까지 4번 들었는데, 매번 저의 결론은 같습니다.
키타젠코는 5,7번은 8번과는 다르게 상당히 '클래식'하게 연주합니다. 근데, 전 그런 어프로치가 좋습니다.
13, 15번에서는 다시 8번 무드로 돌아가죠.
쇼시 8번 - 절망, 슬픔, 좌절, 공포, 분노, 광기, 내적피신, 고독, 한가닥희망, 아이러니, 마음의 평정.... (유머가 거의 없는것이 쇼시로서는 ... 의외적),
8번 3악장의 트럼펫 독주를 '유머'로 볼 수도 있지 않을까요?
도리안님, 맞습니다. 그래서 '거의'라고 표현했습니다~