Shostakovich - Symphony No. 4 in C minor, Op. 43 / REMASTERED (Century's record.: Kirill Kondrashin) 

Dmitri Shostakovich (1906-1975) Symphony No. 4 by Kirill Kondrashin / Remastered. 🎧 Qobuz bit.ly/3HFDdEk Apple Music apple.co/3GhTiQW 🎧 Amazon Music amzn.to/3xEO78x Tidal bit.ly/3O9y5dZ 🎧 Deezer bit.ly/3y6yckE Spotify spoti.fi/3xxyijO 🎧 RU-vid Music bit.ly/403TA60 SoundCloud bit.ly/3ZX70k2 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … Click to activate the English subtitles for the presentation (00:00-01:35) 00:00 Symphony No. 4 in C minor, Op. 43 - I. Allegro poco moderato (Remastered 2022) 25:34 Symphony No. 4 in C minor, Op. 43 - II. Moderato con moto (Remastered 2022) 33:56 Symphony No. 4 in C minor, Op. 43 - III. Largo, Allegro (Remastered 2022) Moscow Philharmonic Orchestra Conductor: Kirill Kondrashin Recorded in 1962 New mastering in 2022 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Symphony No 4 in C Minor, op. 43 (1934/36). The first performance was planned for the beginning of 1936, but the score was withdrawn by the composer and the performance was not given until December 30th 1960 by the Moscow Philharmonic, cond.: Kirill Kondrashin. The work opens with a long Allegretto poco moderato, extremely tragic in character, with strident bursts from the brass. A savage, sarcastic, almost desperate irony is present in the wind. The strings are given far more lyrical episodes, whilst melodic fragments disintegrate, disappear and reappear. All these elements are evocative of Mahler, whose example Shostakovich had completely assimilated and which was to follow him to the end of his career. Towards the middle of the movement, a surprising fugal episode occurs on unaccompanied strings, with a slow entry by the brass and percussion ending in a fortissimo of rare violence. Calm is restored. Soon, however, laments are heard from the wind, supported by the strings, before a return to the jerky, slightly grotesque theme of the beginning of the movement. Calm descends once more, the violin plays a plaintive melody, followed by a melancholy air on the cor anglais. The short Moderato con moto is also very reminiscent of Mahler with its joyous, ländler-like theme (a brief allusion to the scherzo from the 2nd, "Resurrection" Symphony is slipped in), heavily punctuated by the timpani. The theme is carried away by the strings, sardonic, almost ethereal, taken up and prattled by the wind, then sung by the brass before being returned to the strings, muted and accompanied by a surprising clatter from the percussion which is to be found, unchanged, thirty-five years later in the finale of the 15th Symphony. The third movement, Largo - Allegretto which is almost as long as the first, opens with a rather lumpish melody on the bassoon (then piccolo and horn), followed by a brief intervention from the brass, to a funeral march rhythm, still very evocative of Mahler (Symphony No.1, "Titan"). There is an acceleration in the strings, then brass with xylophone. All this useless agitation ceases and gives way to a simple little melody on flute and harp in distinct waltz time which becomes ironic, then vulgar (piccolo, trombone). The atmosphere gradually changes (strings). A storm of brass, supported by clarinet, bassoon, flute, oboe and xylophone breaks forth over the violent beating of the timpani. The entire orchestra becomes involved in a desperate and hopeless race, but is stopped in its tracks by the beating of the tomtom. An uneasy calm is restored, although menacing sounds can still be heard, notably a distant alarm floating over resigned-sounding strings. A string melody leads to the coda, an imaginative instrumental tissue woven by the harp, celesta and timpani, whilst the brass fade into the distance. The celesta's final notes hang in the air. This closing page is one of the most moving and powerful in the Composer's entire orchestral output. Shostakovich - Symphony No. 8 in C minor Op. 65 / REMASTERED (Century's record.: Kirill Kondrashin): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-8FYItK8JS4Q.html Dmitri Shostakovich PLAYLIST (reference recordings): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-kqjxlpzfND0.html

One of the most incredible finale in the symphonic repertoire…pure magic

Symphony No 4 in C Minor, op. 43 (1934/36). The first performance was planned for the beginning of 1936, but the score was withdrawn by the composer and the performance was not given until December 30th 1960 by the Moscow Philharmonic, cond.: Kirill Kondrashin. The work opens with a long Allegretto poco moderato, extremely tragic in character, with strident bursts from the brass. A savage, sarcastic, almost desperate irony is present in the wind. The strings are given far more lyrical episodes, whilst melodic fragments disintegrate, disappear and reappear. All these elements are evocative of Mahler, whose example Shostakovich had completely assimilated and which was to follow him to the end of his career. Towards the middle of the movement, a surprising fugal episode occurs on unaccompanied strings, with a slow entry by the brass and percussion ending in a fortissimo of rare violence. Calm is restored. Soon, however, laments are heard from the wind, supported by the strings, before a return to the jerky, slightly grotesque theme of the beginning of the movement. Calm descends once more, the violin plays a plaintive melody, followed by a melancholy air on the cor anglais. The short Moderato con moto is also very reminiscent of Mahler with its joyous, ländler-like theme (a brief allusion to the scherzo from the 2nd, "Resurrection" Symphony is slipped in), heavily punctuated by the timpani. The theme is carried away by the strings, sardonic, almost ethereal, taken up and prattled by the wind, then sung by the brass before being returned to the strings, muted and accompanied by a surprising clatter from the percussion which is to be found, unchanged, thirty-five years later in the finale of the 15th Symphony. The third movement, Largo - Allegretto which is almost as long as the first, opens with a rather lumpish melody on the bassoon (then piccolo and horn), followed by a brief intervention from the brass, to a funeral march rhythm, still very evocative of Mahler (Symphony No.1, "Titan"). There is an acceleration in the strings, then brass with xylophone. All this useless agitation ceases and gives way to a simple little melody on flute and harp in distinct waltz time which becomes ironic, then vulgar (piccolo, trombone). The atmosphere gradually changes (strings). A storm of brass, supported by clarinet, bassoon, flute, oboe and xylophone breaks forth over the violent beating of the timpani. The entire orchestra becomes involved in a desperate and hopeless race, but is stopped in its tracks by the beating of the tomtom. An uneasy calm is restored, although menacing sounds can still be heard, notably a distant alarm floating over resigned-sounding strings. A string melody leads to the coda, an imaginative instrumental tissue woven by the harp, celesta and timpani, whilst the brass fade into the distance. The celesta's final notes hang in the air. This closing page is one of the most moving and powerful in the Composer's entire orchestral output. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr

One of the best symphonies of all time! Undoubtedly the best in the 20th century!

This marvelous symphony with paradoxical themes is about war of Evil and Humanity. Stalin Dictatorship and a free soul artist. This piece art is for whoever fights with enslavers of freedom

This is very great classic recording.

Wunderschöne und spannende Interpretation dieser neoklassischen und perfekt komponierten Sinfonie mit farbenreichen doch perfekt entsprechenden Tönen aller Instrumente. Die Virtuosität aller Einzelspieler ist echt eindrucksvoll. Der intelligente und unvergleichliche Dirigent leitet das ausgezeichnete Orchester im veränderlichen Tempo und mit künstlerisch kontrollierter Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine Originalaufnahme von sechzig Jahren vor. Wundevoll und atemberaubend zugleich!

One of the best recordings and landmark historical value! And this was recorded 2 years before the Cuban missile crisis during the height of the Cold War.

The greatest symphony of the 20th century (other than Mahler 9)

Question to All: What other symphonies do you find as hard hitting, forceful, melodic and poignant as this one?

Such a foreboding Symphony...😱

Gostei.

One of the all time classical shit-kickers. Without the suppression of his work by Stalin and the Kommisars, Shostakovich would be among the all-time greats. He is.

A very different one from the ones I like, the Fifth and Seventh Symphonies. And let's say a more "classic" one. Though the tension is all time present and has innovative effects here and there. Think Shostakovitch could have had a greater acceptance and remained as one of the best if he had kept a bit more under the classic pattern. His will to be innovative spoiled somehow works that could otherwise have been excellent classical music. Still some of his works are outstanding ones. 🤔🙄😳🙏

So many people love this symphony and I just can't. I pretty much hate it - noise, vulgarity, poor tunes. I love Shostakovich - one of my absolute favourite composers but I just cannot crack this thing.