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Shostakovich, Mussorgsky / Galina Vishnevskaya


Release Date: 03/23/2004 
Label:  Warner Classics   Catalog #: 62830   Spars Code: ADD 
Composer:  Dmitri ShostakovichModest Mussorgsky
Performer:  Mstislav RostropovichGalina VishnevskayaUlf HoelscherVasso Devetsi,   ... 
Conductor:  Mstislav Rostropovich
Orchestra/Ensemble:  London Philharmonic Orchestra
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 18 Mins. 

Special Order: This CD requires additional production time and ships within 2-3 business days.  

This CD is reissued by ArkivMusic.

Notes and Editorial Reviews

The Satires are extraordinary pieces of work. To choose these odd, revolutionary Chorny poems was surprising enough for an established Soviet composer of Shostakovich's distinction: one is a very funny and outspoken account of a young man who takes a poetess's absurd declaration of her desires at face value, to his great discomfiture, another denounces the empty optimism of thinking that the world is ever going to get better—"Tell me another!". They are set with incomparable wit, and sung and played by Vishnevskaya and Rostropovich in a manner that one can hardly imagine bettered. Rostropovich colours the accompaniment of "Progeny", the song despairing of the future and caring little about it, at first confidingly and Read more then with a kind of urgency: "I want a little of the world for me, while I am still alive . . .". He produces a brilliantly perky little piano postlude for his wife's neat characterization of the peculiar opening song "To a critic", and makes "Misunderstanding" a hilarious little tone-poem underlying the voice: the 'poetess from Balzac's time' is solemnly portrayed, as she recites her silly poem of passion—"I am as fresh as a flower, you must possess me"—and when the poor young man thinks that's what she means, and moves in, his puzzlement at being given the outraged brush-off is marvellously pictured in the bemused little staccato chords. Incidentally, Myron Morris's translations, though quick to sense the atmosphere of these satires, inexplicably miss out a couple of phrases which have their comic point: in "Taste of spring", a devastating satire on so many Russian apostrophes to spring, the reviving cactus is in the original described as "like a new Lazarus"; and our frustrated rake attacks his poetess, according to Chorny, "with the unbridled strength of a Centaur".

-- Gramophone [9/1976, reviewing Satires]

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...Vishnevskaya was an intense and rather individual vocalist whose approach to art songs emphasized the dramatic element. Mussorgsky’s Songs and Dances of Death...is a powerful and highly personal account of this exceptional cycle. Admittedly, influenced by the now-historical accounts of Boris Christoff and George London, I prefer the sound of a dark bass-baritone in this music, and I am also partial to the piano-accompanied version of the cycle, though the Shostakovich orchestration used here is highly effective. In the opening “Lullaby,” Death’s ominous yet calming presence is tellingly caught. The ghostly “Serenade” comes to a shattering end, while in the “Trepak” parlando effects are used for interesting contrast. “The Field Marshal,” too, is full of evocative theatrical detail, with a rousing climax...

-- George Jellinek, FANFARE [3/2004]
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Works on This Recording

1.
Satires (5), Op. 109 by Dmitri Shostakovich
Performer:  Mstislav Rostropovich (Piano), Galina Vishnevskaya (Soprano)
Period: 20th Century 
Written: 1960; USSR 
Date of Recording: 10/1974 
Venue:  Wagram Hall, Paris, France 
Length: 15 Minutes 15 Secs. 
Language: Russian 
2.
Songs and dances of death by Modest Mussorgsky
Performer:  Galina Vishnevskaya (Soprano)
Conductor:  Mstislav Rostropovich
Orchestra/Ensemble:  London Philharmonic Orchestra
Period: Romantic 
Written: 1875-1877; Russia 
Date of Recording: 10/1976 
Venue:  Kingsway Hall, London, England 
Length: 20 Minutes 49 Secs. 
Language: Russian 
3.
Songs (7) for Soprano, Violin, Cello and Piano, Op. 127 by Dmitri Shostakovich
Performer:  Ulf Hoelscher (Violin), Galina Vishnevskaya (Soprano), Vasso Devetsi (Piano),
Mstislav Rostropovich (Cello)
Period: 20th Century 
Written: 1967; USSR 
Date of Recording: 10/1974 
Venue:  Wagram Hall, Paris, France 
Length: 24 Minutes 56 Secs. 
Language: Russian 
4.
Lady Macbeth of the Mtsensk district, Op 29: Time for bed by Dmitri Shostakovich
Performer:  Galina Vishnevskaya (Soprano)
Conductor:  Mstislav Rostropovich
Orchestra/Ensemble:  London Philharmonic Orchestra
Period: 20th Century 
Written: 1930-1932; USSR 
Date of Recording: 04/1978 
Venue:  EMI Abbey Road Studio 1, London, England 
Length: 3 Minutes 20 Secs. 
Language: Russian 
5.
Lady Macbeth of the Mtsensk district, Op 29: The foal runs after the filly by Dmitri Shostakovich
Performer:  Galina Vishnevskaya (Soprano)
Conductor:  Mstislav Rostropovich
Orchestra/Ensemble:  London Philharmonic Orchestra
Period: 20th Century 
Written: 1930-1932; USSR 
Date of Recording: 04/1978 
Venue:  EMI Abbey Road Studio 1, London, England 
Length: 5 Minutes 45 Secs. 
Language: Russian 
6.
Lady Macbeth of the Mtsensk district, Op 29: Who is there? by Dmitri Shostakovich
Performer:  Galina Vishnevskaya (Soprano), Nicolai Gedda (Tenor)
Conductor:  Mstislav Rostropovich
Orchestra/Ensemble:  London Philharmonic Orchestra
Period: 20th Century 
Written: 1930-1932; USSR 
Date of Recording: 04/1978 
Venue:  EMI Abbey Road Studio 1, London, England 
Length: 3 Minutes 16 Secs. 
Language: Russian 
7.
Lady Macbeth of the Mtsensk district, Op 29: I'll be going by Dmitri Shostakovich
Performer:  Galina Vishnevskaya (Soprano)
Conductor:  Mstislav Rostropovich
Orchestra/Ensemble:  London Philharmonic Orchestra
Period: 20th Century 
Written: 1930-1932; USSR 
Date of Recording: 04/1978 
Venue:  EMI Abbey Road Studio 1, London, England 
Length: 4 Minutes 35 Secs. 
Language: Russian 

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