Tags
Language
Tags

Lawrence Power, Simon Crawford-Phillips - Dmitri Shostakovich: Music For Viola and Piano (2012)

Posted By: Designol
Lawrence Power, Simon Crawford-Phillips - Dmitri Shostakovich: Music For Viola and Piano (2012)

Dmitri Shostakovich: Music For Viola and Piano (2012)
Lawrence Power (Viola), Simon Crawford-Phillips (Piano)

EAC | FLAC | Image (Cue&Log) ~ 196 Mb | Mp3 (CBR320) ~ 131 Mb | Artwork included
Genre: Classical | Label: Hyperion | # CDA67865 | Time: 00:57:02

Lawrence Power makes the second of his appearances in this month’s release lists, this time with his regular pianist partner Simon Crawford-Phillips in the chamber music of Shostakovich. The centrepiece is the Viola Sonata, Shostakovich’s last completed work, premiered posthumously, on what would have been the composer’s sixty-ninth birthday. Its ravishing slow finale reworks the opening of Beethoven’s ‘Moonlight’ Sonata—a tribute to a composer he revered. Shostakovich the film composer also takes a bow, in the form of The Gadfly, with its famous ‘Romance’ beloved of violinists everywhere. That this works just as compellingly on the viola is triumphantly displayed in the arrangement made by Vadim Borisovsky (founding violist of the Beethoven Quartet), one of the Five Pieces he recast from Shostakovich’s original. Shostakovich’s 24 Piano Preludes have also proved irresistible to transcribers and here we have the seven brilliantly reworked by a pupil of Borisovsky, Yevgeny Strakhov.

Shostakovich’s Viola Sonata was his last work, written in the final two months of his life. It did not receive its first performance until seven weeks after the composer’s death. Its significance lies not only in that bleak fact; it is also one of the most important works for viola and piano in the canon. The first movement was described by the composer as a ‘novella’, and one wonders indeed if he had a specific book or programme in mind, such is the narrative strength of the music. Power’s performance has some beautifully subtle shadings, as well as a vast range of dynamic, from a full romantic cantilena down to the most delicate pizzicato and an absolutely spine-chilling whisper of sound in tremolo on the bridge.

The second movement opens with a reworking of comparatively lightweight material from Shostakovich’s unfinished opera on Gogol’s The Gamblers, but soon develops a more disturbing undertow as he moves into newly composed material. The opera was left unfinished shortly before Shostakovich was attacked by the Soviet establishment during the Zhdanov purge, and one wonders whether his quotation of this music and the way he subsequently undermines it might have autobiographical significance. Certainly there is no doubt about such significance in the finale, where Shostakovich interweaves quotations from all fifteen of his symphonies (and other works) into an extensive free fantasia built around a paraphrase of the opening of Beethoven’s Moonlight Sonata. As always in late Shostakovich – one thinks of the Fifteenth Symphony, for example – the composer’s quotations from other composers have point; in the symphony William Tell represents freedom, and the use of the ‘fate’ motif from Wagner’s Ring is self-explanatory; but the significance of the Beethoven is not so easy to read, especially since it extends its far-reaching tentacles in one way or another throughout the movement. David Fanning in his booklet note suggests that Shostakovich was aware that his death from lung cancer was imminent, and that he knew this sonata would be his last work. If so, he remained enigmatic to the very end. The performance from Power is matched by a stupendous rendition of the piano part by Crawford-Phillips, who matches his partner’s huge dynamic span with playing that ranges from a massive roar of protest to a barely audible whisper. This is a superb recording of a very important piece.

Shostakovich wrote no other works specifically for the combination of viola and piano, but both the sets of arrangements that make up the remainder of this disc were made during his lifetime and presumably with his consent and blessing. One cannot however say that Strakhov’s arrangements of seven of the piano Preludes add very much to the original. In some places there is a feeling that he is trying desperately and not always successfully to find something worthwhile for the viola to add. He gives titles to each of the movements (which Shostakovich did not) and this hints at the fact that Strakhov may have felt the need to justify his arrangement – although Shostakovich also approved versions of the Preludes for violin and piano.

On the other hand, Borisovsky’s arrangement of five pieces from The Gadfly are an absolutely stunning piece of work. The famous Romance works splendidly; but the whole selection shows a real rethinking of the film score in terms of viola and piano, and the opening Scene has a grand romantic sweep that totally transcends the cinematographic origins of the music. The Barrel-organ waltz brings a stunning use of viola harmonics which must be absolutely fiendish to play, but which Power makes sound not only natural and easy but also funny. The concluding Folk festival is yet another Shostakovich lollipop on the same level at the Romance – which, by the way, Power and Crawford-Phillips make sound new-minted.

This disc is absolutely essential for the Viola Sonata but the Gadfly pieces make a superb additional cause for heartfelt recommendation. The recorded sound is truthful and present, with just the right halo of resonance around the players who are superbly balanced with each other. The cover illustration, as so often with Hyperion, is superbly chosen and suitably atmospheric.

Review by Paul Corfield Godfrey, MusicWeb International

The promised music for viola and piano on this British release is achieved only through the use of transcriptions; the only work originally for viola is the Sonata for viola and piano, Op. 147. And that work is indubitably the centerpiece of the program. The sonata was composed in the summer of 1975 and completed just days before the composer's death from the accreted effects of lung cancer, heart disease, and polio. It is one of the grimmest works in his or anybody else's canon, with a massive slow finale that quotes from Beethoven's "Moonlight" sonata and each of Shostakovich's own 15 symphonies. Even the central Allegretto is deathlike. It is not easy to maintain a sense of momentum in the extremely long lines of this work, but violist Lawrence Power and pianist Simon Crawford-Phillips manage to do so with a measured, careful performance; this is one case with Shostakovich where less is more. The work is framed by a pair of lighter pieces: viola-and-piano arrangements of seven of Shostakovich's Preludes for piano, Op. 34, which make a nice, slighly more somber counterpoint to the better-known violin-and-piano arrangements, and arrangements of five cuts from The Gadfly, Op. 97, a film score of the mid-'50s, during the period of his seeming total submission to Soviet cultural authority, that's as tonal as anything he ever wrote. With the fine recording of the viola sonata, this is a recording that will find a place on good Shostakovich shelves (or hard drives).

Review by James Manheim, Allmusic.com

Lawrence Power, Simon Crawford-Phillips - Dmitri Shostakovich: Music For Viola and Piano (2012)



Lawrence Power, Simon Crawford-Phillips - Dmitri Shostakovich: Music For Viola and Piano (2012)



Lawrence Power, Simon Crawford-Phillips - Dmitri Shostakovich: Music For Viola and Piano (2012)



Lawrence Power (Viola), Simon Crawford-Phillips (Piano)
Recording details: October 2010
Concert Hall, Wyastone Estate, Monmouth, United Kingdom

Tracklist:

7 Preludes from 24 Preludes, Op.34
01. 1. Un peu triste (No.10) (1:40)
02. 2. Marche funebre (No.14) (1:58)
03. 3. Une valse vite (No.15) (0:50)
04. 4. Une valse militaire (No.16) (1:10)
05. 5. Melodie amoureuse (No.17) (1:53)
06. 6. Une danse ironique (No.18) (0:48)
07. 7. Finale (No.24) (1:26)

Sonata for viola & piano, Op.147
08. 1. Moderato (9:31)
09. 2. Allegretto (7:16)
10. 3. Adagio (13:16)

5 Pieces from 'The Gadfly', Op.97
11. 1. Scene: Moderato (2:24)
12. 2. Intermezzo: Andante (5:22)
13. 3. Sharmanka (Barrel-Organ Waltz) (2:03)
14. 4. Romance (4:42)
15. 5. Folk Festival (2:43)


Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 3. March 2013, 21:17

Lawrence Power, Simon Crawford-Phillips / Shostakovich - Music for Viola & Piano

Used drive : HL-DT-STDVDRAM GSA-4083N Adapter: 1 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 667
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 896 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 %source%


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 1:39.69 | 0 | 7493
2 | 1:39.69 | 1:57.55 | 7494 | 16323
3 | 3:37.49 | 0:50.06 | 16324 | 20079
4 | 4:27.55 | 1:10.31 | 20080 | 25360
5 | 5:38.11 | 1:53.04 | 25361 | 33839
6 | 7:31.15 | 0:48.36 | 33840 | 37475
7 | 8:19.51 | 1:25.60 | 37476 | 43910
8 | 9:45.36 | 9:31.16 | 43911 | 86751
9 | 19:16.52 | 7:16.05 | 86752 | 119456
10 | 26:32.57 | 13:15.52 | 119457 | 179133
11 | 39:48.34 | 2:23.46 | 179134 | 189904
12 | 42:12.05 | 5:21.48 | 189905 | 214027
13 | 47:33.53 | 2:03.12 | 214028 | 223264
14 | 49:36.65 | 4:41.66 | 223265 | 244405
15 | 54:18.56 | 2:43.37 | 244406 | 256667


Range status and errors

Selected range

Filename J:\New Music\Shostakovich - Music for Viola and Piano\Shostakovich - Music for Viola & Piano.wav

Peak level 88.6 %
Extraction speed 3.4 X
Range quality 99.9 %
Test CRC 01DD7C1F
Copy CRC 01DD7C1F
Copy OK

No errors occurred

End of status report

==== Log checksum 3BEA9F49986E517BF409022BF6571B18F522282352D27AF6F7D9D59083F3538B ====

[CUETools log; Date: 01.07.2018 4:08:29; Version: 2.1.4]
[CTDB TOCID: 3rGaLrqVmhP73oDq8VQWwe7DKDo-] found.
Track | CTDB Status
1 | (7/7) Accurately ripped
2 | (7/7) Accurately ripped
3 | (7/7) Accurately ripped
4 | (7/7) Accurately ripped
5 | (7/7) Accurately ripped
6 | (7/7) Accurately ripped
7 | (7/7) Accurately ripped
8 | (7/7) Accurately ripped
9 | (7/7) Accurately ripped
10 | (7/7) Accurately ripped
11 | (7/7) Accurately ripped
12 | (7/7) Accurately ripped
13 | (7/7) Accurately ripped
14 | (7/7) Accurately ripped
15 | (7/7) Accurately ripped
[AccurateRip ID: 0019e935-014054f6-c50d5e0f] found.
Track [ CRC | V2 ] Status
01 [5f84c84e|8ca5506d] (0+4/4) Accurately ripped
02 [129ad273|b5c12a43] (0+4/4) Accurately ripped
03 [97baaec3|d5408cc3] (0+4/4) Accurately ripped
04 [d330d029|b13f3414] (0+4/4) Accurately ripped
05 [0da04cc4|3c36c0a7] (0+4/4) Accurately ripped
06 [c9d2d5dc|ea7800fd] (0+4/4) Accurately ripped
07 [8d12e14c|90469dec] (0+4/4) Accurately ripped
08 [c86beb49|926ae188] (0+4/4) Accurately ripped
09 [500deded|cf3f6387] (0+4/4) Accurately ripped
10 [d9fe2ad7|77e79afc] (0+4/4) Accurately ripped
11 [ad237c20|61871233] (0+4/4) Accurately ripped
12 [b946dcc2|c2c8f55d] (0+4/4) Accurately ripped
13 [e6a47dd6|a7cae1af] (0+3/3) Accurately ripped
14 [975b296d|dc1140df] (0+3/3) Accurately ripped
15 [0d47a3dc|68830293] (0+4/4) Accurately ripped

Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 88,6 [01DD7C1F] [76371CF0] CRC32
01 34,6 [0D7DFA8B] [5ECF2B58]
02 74,4 [4874376C] [650017D3]
03 44,1 [1D9C2804] [196D76B6]
04 62,7 [5DE51C18] [86D90479]
05 45,3 [6251FEF1] [BC9FB2AE]
06 39,1 [959A667C] [798182B6]
07 73,0 [D9F3DDDC] [33FECC6E]
08 63,3 [3B6BF53F] [3E842052]
09 68,3 [54799E64] [B6D063D9]
10 54,0 [18BFA472] [DEA3EEA6]
11 88,6 [3B95CC4E] [85249D55]
12 82,2 [CA1791CA] [EB2B2E4D]
13 13,2 [B996A4B3] [A380651B]
14 62,9 [B6FBDDC3] [0233D078]
15 84,2 [808BA810] [C4110770]

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2018-07-01 04:07:44

––––––––––––––––––––––––––––––––––––––––
Analyzed: Lawrence Power, Simon Crawford-Phillips / Shostakovich - Music for Viola & Piano
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -9.22 dB -29.04 dB 1:40 01-7 Preludes from 24 Preludes, Op.34 - 1. Un peu triste (No.10)
DR13 -2.57 dB -21.27 dB 1:58 02-7 Preludes from 24 Preludes, Op.34 - 2. Marche funebre (No.14)
DR12 -7.09 dB -22.46 dB 0:50 03-7 Preludes from 24 Preludes, Op.34 - 3. Une valse vite (No.15)
DR13 -4.05 dB -23.15 dB 1:10 04-7 Preludes from 24 Preludes, Op.34 - 4. Une valse militaire (No.16)
DR15 -6.86 dB -30.60 dB 1:53 05-7 Preludes from 24 Preludes, Op.34 - 5. Melodie amoureuse (No.17)
DR11 -8.14 dB -23.88 dB 0:48 06-7 Preludes from 24 Preludes, Op.34 - 6. Une danse ironique (No.18)
DR13 -2.73 dB -24.81 dB 1:26 07-7 Preludes from 24 Preludes, Op.34 - 7. Finale (No.24)
DR14 -3.96 dB -24.45 dB 9:31 08-Sonata for viola & piano, Op.147 - 1. Moderato
DR15 -3.30 dB -23.97 dB 7:16 09-Sonata for viola & piano, Op.147 - 2. Allegretto
DR14 -5.35 dB -26.40 dB 13:16 10-Sonata for viola & piano, Op.147 - 3. Adagio
DR12 -1.04 dB -18.27 dB 2:24 11-5 Pieces from 'The Gadfly', Op.97 - 1. Scene: Moderato
DR14 -1.70 dB -24.88 dB 5:22 12-5 Pieces from 'The Gadfly', Op.97 - 2. Intermezzo: Andante
DR11 -17.57 dB -32.71 dB 2:03 13-5 Pieces from 'The Gadfly', Op.97 - 3. Sharmanka (Barrel-Organ Waltz)
DR14 -4.03 dB -24.17 dB 4:42 14-5 Pieces from 'The Gadfly', Op.97 - 4. Romance
DR13 -1.48 dB -21.01 dB 2:43 15-5 Pieces from 'The Gadfly', Op.97 - 5. Folk Festival
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 15
Official DR value: DR13

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 478 kbps
Codec: FLAC
================================================================================

Lawrence Power, Simon Crawford-Phillips - Dmitri Shostakovich: Music For Viola and Piano (2012)

All thanks to original releaser - A-Z

More interesting music in My Blog