Shostakovich - Symphony No. 5 (hr-Sinfonieorch., cond. Afkham)

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Description

Schostakowitsch: 5. Sinfonie - hr-Sinfonieorchester - David Afkham

I. Moderato 
II. Allegretto 
III. Largo 
IV. Allegro non troppo 

hr-Sinfonieorchester – Frankfurt Radio Symphony 
David Afkham, Dirigent 

Alte Oper Frankfurt, 3. Februar 2017 

Website: http://www.hr-sinfonieorchester.de ;
Facebook: http://www.facebook.com/hrsinfonieorchester

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The Symphony No. 5 in D minor, Op. 47, by Dmitri Shostakovich is a work for orchestra composed between April and July 1937. Its first performance was on November 21, 1937, in Leningrad by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky. The premiere was a huge success and received an ovation that lasted well over half an hour.

The Symphony quotes Shostakovich's song Vozrozhdenije (Op. 46 No. 1, composed in 1936–37), most notably in the last movement, which uses a poem by Alexander Pushkin (find text and a translation here) that deals with the matter of rebirth. This song is by some considered to be a vital clue to the interpretation and understanding of the whole symphony. In addition, commentators have noted that Shostakovich incorporated a motif from the "Habanera" from Bizet's Carmen into the first movement, a reference to Shostakovich's earlier infatuation with a woman who refused his offer of marriage; she subsequently moved to Spain and married a man named Roman Carmen.

Reception
With the Fifth Symphony, Shostakovich gained an unprecedented triumph, with the music appealing equally - and remarkably - to both the public and official critics, though the overwhelming public response to the work initially aroused suspicions among certain officials. The then-head of the Leningrad Philharmonic, Mikhail Chulaki, recalls that certain authorities bristled at Mravinsky's gesture of lifting the score above his head to the cheering audience, and a subsequent performance was attended by two plainly hostile officials, V.N. Surin and Boris M. Yarustovsky, who tried to claim in the face of the vociferous ovation given the symphony that the audience was made up of "hand-picked" Shostakovich supporters. Yet the authorities in due course claimed that they found everything they had demanded of Shostakovich restored in the symphony. Meanwhile, the public heard it as an expression of the suffering to which it had been subjected by Stalin. The same work was essentially received two different ways.[
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