Kirill Kondrashin – Alto CD

Daniil Shafran: More Cello Masterworks

amuletts — Fri, 03 Oct 2025 01:09:29 +0000

Parnassus presents legendary recordings of cello masterworks from one of the greatest cellists of the early 20th Century, Daniil Borisovich Shafran. It was a quirk of fate that the Soviet Union should have produced, within the space of four years, two of the greatest cellists of the age, Mstislav Rostropovich and Daniil Borisovich Shafran. It was a particular misfortune for Shafran that Rostropovich should have been so visible a musician, culturally and politically, as Shafran was largely overlooked. These recordings look to shine a spotlight on this great artist in full remasterings by Paul Arden-Taylor.

Shafran was born on 13 January 1923 in St Petersburg, then Petrograd/Leningrad, where his father, Boris, was principal cellist in the Leningrad Philharmonic. Studies with his father were followed by lessons with Aleksander Shtrimer (who had also taught Shafran’s father), first at the Special Music School, and then at the conservatoire two years later. Shafran made his concerto debut with the Philharmonic at the age of eleven, performing Tchaikovsky’s ‘Rococo’ Variations conducted by Albert Coates and three years later, in 1937, the same year that he won the All-Union Competition, he recorded the work with Alexander Gauk. His competition prize was a 1630 Amati cello (reputedly), slightly on the small side, that he used for the rest of his life. After his death, it turned out that it was, in fact, probably eighteenth-century German or Bohemian.

(Stephen Isserlis): “Sebastian Comberti had the best description …like finding the last member of a lost tribe of cellists. His playing takes you right back to a different era.”

“Comparisons in the Prokofiev are especially telling, Rostropovich is earnest but suave, Shafran more colourful but unremittingly intense. Rozhdestvensky’s mastery of the score is a bonus: this was the period when he made his greatest Prokofiev recordings” (Tsindzadze):

“every bar holds its own brand of magic.” (Gramophone)

Pyotr Ilyich Tchaikovsky

Variations on a Rococo Theme (18:41)

David Popper
Spanish Dances, Op. 54

No. 5, Vito (3:58)

Concert Etudes, Op. 55

No. 2, Jagdstück (2:20)

Camille Saint-Saëns

Carnival of the Animals: The Swan (2:47)

Sergei Prokofiev
Symphony-Concerto in E Minor, Op. 125

I. Andante (9:39)
II. Allegro giusto (16:26)
III. Andante con moto (9:12)

Shostakovich: Symphony No.4 in C minor Music for the play ‘Hamlet’

amuletts — Wed, 15 May 2024 00:02:13 +0000

“Kondrashin’s Fourth was made shortly after the first performance and is altogether outstanding. It is both spontaneous and imaginative … its intensity of feeling and refinement of detail are matched by recording quality of striking range for its period.” (Gramophone) “Of the film scores … Hamlet was made of sterner stuff. This music is close in spirit to the major works he was working on at the time, you’ll find many of the same textures and sometimes even the same music here.” (Gramophone)

Hamlet: Suite from the Incidental Music, Op.32a [15:52]

[1] Introduction and Night Watch 2:42

[2] Flourish and Dance Music 2:17

[3] Chase 1:48 [4] Actors’ Pantomime 1:44

[5] Ophelia’s Song 1:47 [6] A Lullaby 1:28

[7] Requiem 1:50 [8] Fortinbras’ March 2:12

Symphony No.4 in C minor, Op.43 [60:06]

[9] I. Allegretto poco moderato – Presto 25:42

[10] II. Moderato con moto 8:22

[11] III. Largo – Allegro 26:01

Shostakovich: Symphony No. 13 ‘Babi Yar’ Incidental Music for King Lear, Op. 58a

amuletts — Wed, 31 Jan 2024 23:46:17 +0000

Shostakovich: Incidental Music for King Lear, Op. 58a

[1] Return from the Hunt 0:52

[2] At the Hut 2:04

[3] In Regan’s Castle 1:16

[4] The Camp 1:23

[5] March 1:36

[6] Trumpets 1:21

[7] Cordelia’s Ballad* 4:37

Shostakovich: Symphony No. 13 ‘Babi Yar’

for Bass, Chorus and Orchestra, Op. 113

[8] Babi Yar 14:55

[9] Humour 7:49

[10] In the Shop 10:58

[11] Terror 10:23

[12] Quarry 11:36

Shostakovich Violin Concertos 1, 2 Suite from ‘Alone’

amuletts — Wed, 31 Jan 2024 23:43:42 +0000

“Similar feelings (soaring spontaneity and deeply perceptive intelligence) attend his readings of the Shostakovich concertos – added to which is my growing certainty that this version of No.I (accompanied by the great Mravinsky) is his finest. … It was with Mravinsky and the Leningrad that Oistrakh (as dedicatee) gave the first performance … Oistrakh plays as impeccably as ever, and the Leningrad Philharmonic gives admirably vital support” (Op.126) “taken as a whole, this is a most rewarding work and gets a most eloquence performance from Oistrakh who plays with his familiar virtuosity and sweetness of tone.” (Gramophone)

Violin Concerto in A minor Op.99 [36:29]
[1] Nocturne: Moderato 11:52
[2] Scherzo: Allegro 6:18
[3] Passacaglia: Andante – Cadenza (attacca) – 13:30
[4] Burlesque: Allegro con brio – Presto 4:46
Violin Concerto No. 2 in C sharp minor Op.129 (1967) [29:45]
[5] Moderato 12:43
[6] Adagio 8:52
[7] Adagio-allegro 8:10
Suite from the Film “Alone” Op.26 [12:33]
[8] March 4:17
[9] Largo 2:14
[10] Allegretto 6:02

Richter Plays Liszt

amuletts — Wed, 31 Jan 2024 23:43:20 +0000

“Richter’s performances are very distinguished indeed … playing is unforgettable and so is his rapport with Kondrashin” (Penguin Guide 3 stars) “equally brilliant with two quite different sides of this composer, with the luxuriant virtuosity of the the Etudes in particular being thrown off with a zestful freedom that must always be rare in such complex pieces . All connoisseurs should have these performances”. (Gramophone)

Piano Concerto No.1 in Eb major, S124 [18:09]
1. Allegro maestoso 5:08
2. Quasi Adagio 4:58
3. Allegretto vivace – Allegro animato 3:57
4. Allegro marziale animato – Presto 4:04
Piano Concerto No.2 in A major, S125 [20:35]
5. Adagio sostenuto assai – Allegro agitato assai 7:17
6. Allegro moderato 4:56
7. Allegro deciso – Marziale un poco meno allegro 3:44
8. Allegro animato – Stretto (molto accelerando) 4:36
(both above, London –studio–1961)
9. Hungarian Fantasia for Piano and Orchestra, S123 14:26
(R.A.H London, 1961)
10. Funérailles (Harmonies Poétiques et Religieuses, No.7) 11:07
11. Gnomenreigen (Konzertetuden, No.2) 2:29
12. Liebestraum No.3 4:25
(above all in concert Budapest, 1958)
13. Feux Follets (Etudes d’exécution transcendente, No.5) 3:27
(in concert Sofia, 1958)