Moscow Philharmonic Orchestra – 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)

Mozart: Sinfonia Concertante K364 Violin Concertos No.1 K207 & No.3 K216

amuletts — Wed, 31 Jan 2024 23:47:04 +0000

“you can’t go wrong with Oistrakh’s pre-authenticity Mozart. True, this is big-boned, dyed in the wool Mozart, 1960’s style. Tempi are relaxed, textures quite heavy and the ethos masculine and robust … subtle shadings are there – but the prevailing spirit is strong-limbed engagement. K216 was always one of his best pieces of Mozart playing … he also contributes his own, rather good, cadenzas … second movement characteristically expressive and full of the artist’s noble warmth, and a spirit of romance enlivens the finale. Sinfonia Concertante opens at a real maestoso-qualified Allegro. Directed from the viola by Barshai … once again, there’s real affection in the Andante and the finale is nicely buoyant” (MusicWeb)

Sinfonia Concertante in Eb major, K364 [30:34]

[1] Allegro maestoso 12:50

[2] Andante 11:54

[3] Presto 5:49

Violin Concerto No.3 in G major, K216 [23:17]

[4] Allegro 8:44

[5] Adagio 8:17

[6] Rondeau: Allegro 6:15

Violin Concerto No.1 in Bb major, K207* [21:14]

[7] Allegro moderato 7:22

[8] Adagio 7:49

[9] Presto 6:02

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: Symphonies No.9 & No.15 Festive Overture; Scherzo Op.1

amuletts — Wed, 31 Jan 2024 23:45:31 +0000

“(9th) They capture not only the joyful irreverence but the sense of danger lurking beneath … solo wind playing is excellent throughout…brilliantly played and vividly recorded” (CD Review) (15th) “with a superbly vivid Fifteenth, generally hard-driven à la Mravinsky but far more convincingly poised … first movement goes at a frightening lick, deserting the toy shop for the asylum, the slow movement lacks only the very last ounce of desolation and the finale, always intelligently conceived, is suitably emotive at the close. The sound has immediacy and enough depth.” (Gramophone)

[1] Festive Overture, Op.96 *** 6:01
[2] Scherzo for Orchestra in F sharp minor, Op.1 *** 5:01

Symphony No.9 in E-flat major * [26:28]

[3] I. Allegro 5:27
[4] II. Moderato 7:13
[5] III. Presto 2:53
[6] IV. Largo 4:14
[7] V. Allegretto – Allegro 6:40

Symphony No.15 in A major, Op.141 (1971) ** [40:25]

[8] I. Allegretto 7:06
[9] II. Adagio – Largo – Adagio – Largo 13:52
[10] III. Allegretto 4:15
[11] IV. Adagio – Allegretto – Adagio – Allegretto 15:10

‘Aleko’ (complete Opera, One Act)

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

“first performance arranged at the prestigious Bolshoi, where it shared a double bill with Tchaikovsky’s Iolanta (at his insistence). The composition was highly esteemed by the examiners’ board which included Taneyev and Arensky. Rachmaninov got the highest mark, and was awarded the gold medal. In 1897, Aleko premiered in St Petersburg, the title role taken by the famous bass Feodor Chaliapin, who would go on to record the cavatina, endearing it to generations of record collectors. Russian bass Evgeni Nesterenko joined Moscow’s famed Bolshoi Opera in 1971 and has taken on all of the major Russian bass roles and recorded widely.” (J.Murray)

[1] Introduction 3:12
[2] Chorus 4:17
[3] The old man’s story (old man, chorus) 5:31
[4] Scene and chorus (Aleko, Zemphira, young gypsy, chorus) 1:53
[5] Women’s dance 3:51
[6] Men’s dance 5:22
[7] Chorus 3:37
[8] Duettino (young gypsy, Zemphira) 2:39
[9] Scene at the Cradle (Zemphira, Aleko) 4:19
[10] Aleko’s Cavatina 5:51
[11] Intermezzo 2:40
[12] The young gypsy’s romance 1:27
[13] Duet and finale (whole cast) 14:37

Sergei Rachmaninov: Piano Concertos 1 & 3 Preludes in E flat major Op23/6; in C sharp minor Op3/2

amuletts — Wed, 31 Jan 2024 23:41:06 +0000

(No.1) “On the occasion of the first Western-engineered recordings made in the USSR, soloist and orchestra plainly challenged each other to the limit and (the producers) brilliantly captured the warmly romantic and chimerical interpretation which resulted. Solo playing…scintillating..” (No.3) “the simple opening benefits from the extra warmth, and Janis lets the theme unwind with appealing spontaneity, and in the great closing climax to the finale, the passion is built up – not too hurriedly- to the greatest possible tension….two favourite Preludes most persuasively played.” (Penguin Guide 3 stars)

Piano Concerto No.1 in F sharp minor, Op.1

[1] Vivace – Moderato 11:56
[2] Andante 5:34
[3] Allegro vivace 7:10

Piano Concerto No. 3 in D minor, Op.30

[4] Allegro ma non tanto 14:56
[5] Intermezzo: Adagio 10:15
[6] Finale: Alla breve 12:50
[7] Prelude in E flat major, Op.23 No.6 2:51
[8] Prelude in C sharp minor, Op.3 No.2 3:49

Shostakovich: Violin Concerto No.2 / Symphony No.15

amuletts — Wed, 31 Jan 2024 23:36:13 +0000

Shostakovich: Violin Concerto No.2 / Symphony No.15

Catalogue No: ALC 1062

The music of Dmitri Shostakovich is more popular than ever. His daring use of the symphonic form, often blunt and emptional musicality, and bold orchestration challenged the status quo of Soviet art and arguably conveyed the secret (and not-so-secret) horror of the “glorious Socialist workers’ paradise.” Two of Shostakovich’s foremost interpreters interpreters â€“ the dynamic conductor Kiril Kondrashin and legendary violinist David Oistrakh â€“ join forces to present Shastakovich’s late concerto masterpiece, and Kondrashin leads an orchestra that was arguably “his” in Shostakovich’s final, sardonic statement in the symphonic form. Two legendary recordings, together on on value-priced CD.

Dmitri Shostakovich: Violin Concerto No.2 in c-sharp minor, Op.129

- 1 â€” I. Moderato12:43
- 2 â€” II. Adagio8:52
- 3 â€” III. Adagioâ€“Allegro8:08

Dmitri Shostakovich: Symphony No.15 in A Major, Op.141

4 â€” I. Allegretto7:07
5 â€” II. Adagioâ€“Largoâ€“Adagioâ€“Largo13:52
6 â€” III. Allegretto4:15
7 â€” IV: Adagioâ€“Allegrettoâ€“Adagioâ€“Allegretto15:12

Recorded 1967 (Concerto) and 1974
Licensed from A-Tempo Prague