Riccardo Muti - Shostakovich: Symphony No. 13 in B-Flat Minor, Op. 113 Babi Yar (Live) (2020) [24/96]

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Riccardo Muti - Shostakovich: Symphony No. 13 in B-Flat Minor, Op. 113 Babi Yar (Live) (2020) [24/96]

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This is one of Shostakovich's greatest works. It's actually a cantata based on five poems by Yevgeny Yevtushenko. Like Mahler's Das Lied von der Erde, the music is linked and the mood of each pieces leads to the next, concluding in a heartbreaking coda. But this work was met with controversy. The poem "Babi Yar," which starts off the symphony, is based on the Nazi massacre of Jews at Babi Yar, Ukraine, during World War II. The work was banned by the politburo, but for the poetry, not the music.

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Riccardo Muti - Shostakovich: Symphony No. 13 in B-Flat Minor, Op. 113 Babi Yar (Live) (2020) [24/96]

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Riccardo Muti leads the Chicago Symphony Orchestra, men of the Chicago Symphony Chorus and bass soloist Alexey Tikhomirov in this poignant performance of Shostakovich’s Symphony No. 13, Op. 113 (Babi Yar), recorded live in September 2018.

The ensemble shines throughout - from passages requiring the sheer sonic force of the first movement to the indelible moments provided by single instruments. Muti and musicians expertly navigate the intricacies of the five movements, each set to the poetry of Yevgeny Yevtushenko and expressing themes that were dear to Shostakovich - revolution and war, the individual’s role in society, idealism in the face of easy compromise, prejudice and intolerance.

Yevtushenko said, “Over people like Shostakovich death has no power. His music will sound as long as humankind exists… When I wrote ‘Babi Yar,’ there was no monument there. Now there is a monument.”

“Muti channeled that excitement into rapt, almost reverent attention with a searing performance of a dramatic work that is very close to his heart.” - Chicago Sun-Times

“In all, a probing performance of a work Muti rightly termed ‘a masterpiece.’” - Chicago Tribune

“Alexey Tikhomirov was a supremely responsive advocate throughout, singing with a flexible, middle-weight bass. The Russian singer was a firm, stentorian presence in the declamatory passages without crossing the line to mere hectoring.” - Chicago Classical Review

“The work ‘will remain eternal not only because it’s a great piece of music,’ Muti told the audience, ‘but because it’s a deep warning, a document that’s important for us and the next generation…’” - Chicago Tribune

Includes full colour booklet with notes in English, German and French.