The Seckerson Tapes: Vasily Petrenko's Shostakovich | reviews, news & interviews
The Seckerson Tapes: Vasily Petrenko's Shostakovich
The Seckerson Tapes: Vasily Petrenko's Shostakovich
The conductor discusses his Shostakovich cycle for Naxos
Thursday, 03 December 2009
The charismatic St Petersburg-born Vasily Petrenko has really been turning things around at the Royal Liverpool Philharmonic Orchestra since he took over as Principal Conductor in 2005. With both standards and audiences on the up he has embarked upon his first major recording project – to record all 15 Shostakovich Symphonies for the Naxos label.
Two releases are now available and in this exclusive podcast he talks to Edward Seckerson about the project in general and the symphonies in particular. The 11th “The Year 1905” makes extensive use of revolutionary songs and graphically portrays the bloody massacre of over 200 peaceful demonstrators outside the Winter Palace on the 9th January that year. This now notorious passage which pitches a wall of percussion (five players) against shrill demented unisons is one of the most powerful depictions of unprovoked violence in 20th century music.
The other release couples Shostakovich’s most performed symphony, the 5th, a work of profound ambivalences written when the composer was under intense scrutiny from the Soviet authorities, and the 9th, a deceptively jaunty neo-classical piece which both confused and infuriated those who had been led to expect an epic in memory of Lenin. Shostakovich did so love to confound expectations.
For more information on the Royal Liverpool Philharmonic Orchestra and their forthcoming performances with their chief conductor Vasily Petrenko, click here
Share this article
more Classical music
Bell, Perahia, ASMF Chamber Ensemble, Wigmore Hall review - joy in teamwork
A great pianist re-emerges in Schumann, but Beamish and Mendelssohn take the palm
First Persons: composers Colin Alexander and Héloïse Werner on fantasy in guided improvisation
On five new works allowing an element of freedom in the performance
First Person: Leeds Lieder Festival director and pianist Joseph Middleton on a beloved organisation back from the brink
Arts Council funding restored after the blow of 2023, new paths are being forged
Classical CDs: Nymphs, magots and buckgoats
Epic symphonies, popular music from 17th century London and an engrossing tribute to a great Spanish pianist
Sheku Kanneh-Mason, Philharmonia Chorus, RPO, Petrenko, RFH review - poetic cello, blazing chorus
Atmospheric Elgar and Weinberg, but Rachmaninov's 'The Bells' takes the palm
Daphnis et Chloé, Tenebrae, LSO, Pappano, Barbican review - lighting up Ravel’s ‘choreographic symphony’
All details outstanding in the lavish canvas of a giant masterpiece
Goldscheider, Spence, Britten Sinfonia, Milton Court review - heroic evening songs and a jolly horn ramble
Direct, cheerful new concerto by Huw Watkins, but the programme didn’t quite cohere
Marwood, Power, Watkins, Hallé, Adès, Bridgewater Hall, Manchester review - sonic adventure and luxuriance
Premiere of a mesmeric piece from composer Oliver Leith
Elmore String Quartet, Kings Place review - impressive playing from an emerging group
A new work holds its own alongside acknowledged masterpieces
Gilliver, LSO, Roth, Barbican review - the future is bright
Vivid engagement in fresh works by young British composers, and an orchestra on form
Josefowicz, LPO, Järvi, RFH review - friendly monsters
Mighty but accessible Bruckner from a peerless interpreter
Cargill, Kantos Chamber Choir, Manchester Camerata, Menezes, Stoller Hall, Manchester review - imagination and star quality
Choral-orchestral collaboration is set for great things
Add comment