01 Symphony No 8 in C minor, Op.65 I Adagio - Allegro non troppo - Adagio.flac
02 Symphony No 8 in C minor, Op.65 II Allegretto.flac
03 Symphony No 8 in C minor, Op.65 III Allegro non troppo.flac
04 Symphony No 8 in C minor, Op.65 IV Largo.flac
05 Symphony No 8 in C minor, Op.65 V Allegretto.flac
01 1.Allegro assai.flac
02 2.Andante moderato.flac
03 3.Menuetto - Trio.flac
04 4.Allegro assai.flac
Shost No 8 Mrav back.jpg
Shost No 8 Mrav cover.jpg
Shostakovich Sym8 Mravinsky.pdf
Torrent downloaded from Demonoid.com.txt
Shostakovich Symphony No 8 in C minor, Op 65
Recorded Live 23rd Sept 1960 (UK Premiere)
Mozart Symphony No 33 B flat major
Evgeny Mravinsky, Leningrad Philharmonic Orchestra
As requested in the Classical Requests forums http://fora.demonoid.com/index.php?topic=875.0.
There was a time when Mravinsky’s greatness had to be taken on trust, such was the paucity of his representation in the record catalogues. The situation has been transformed in recent years; hence this version of the Shostakovich has to find its niche in a market-place documenting the orchestra’s prowess in the piece from the 1940s to the 1980s. In a variety of different transfers (and at a variety of different pitches) Mravinsky’s March 1982 concert performance is widely known. But in 1960, when the orchestra made an epochal visit to these shores with Rostropovich, Rozhdestvensky and Shostakovich himself in tow, the work had never been heard here and was not available on disc. Small wonder the event created such a sensation, with the November 1960 Gramophone leading the call for new recordings of the Soviet repertoire played on the tour. Instead, the orchestra stayed on to tape a famous set of the last three Tchaikovsky symphonies for DG. It was memories of this Royal Festival Hall rendition, the Eighth’s UK premiere, together with an intermittently available low-fi MK recording, that kept its reputation alive.
Mravinsky was a conductor in the Karajan mould both in his undemonstrative, albeit politically ratified, exercise of authority and the way in which his interpretations remained broadly consistent from one decade to the next. The sinews had stiffened just a little by 1982, but the differences are slight when set beside the transforming zeal of a Furtwangler or a Bernstein. The authentic timbre of the Leningrad Philharmonic is there in both – the winds tearing into their phrases like scalded cats, the string sound huge and inimitable, dominating the sound-stage and yet never fat or complacent.
In almost every respect, Mravinsky’s London performance lives up to its legendary status, and the sound has been reprocessed to yield excellent results in compartmentalized stereo. Unfortunately, the listeners in the hall are surprisingly restless, perhaps noisy enough to deter today’s uncommitted buyer. The first movement is patiently built, stoic, even bleaker than usual from this source and with only minor technical imperfections: the problem is the veritable barrage of coughing. The power and control of the second and third movements is awesome by any standards and here the audience is less intrusive. In the finale, Mravinsky keeps a tight rein on his players, adopting marginally slower tempos and securing finer results than he did in 1982. This is the conductor at his peak. The climax is cataclysmic with the paying public at last stunned into silence during the magical coda.
Shostakovich dedicated the symphony to Mravinsky, and it is for this work that most people will want the set. It would be interesting to learn how many players were used in the Mozart, evidently a favourite work with the conductor. The Leningrad orchestra brought 110 musicians including eight women members on tour. David Lloyd-Jones has written the fascinating insert-note and he remembers 18 first and second violins.'