As you rightly say, we can waste many unreclaimable hours debating the origins and merits of some of Shostakovich's works, but I have found it particularly rewarding to rethink my own views on this composer's music at a time when the Russian people are being fed a 'parallel universe' narrative of what is happening in Eastern Europe, with any deviance from the official version dealt with by, at best, lengthy prison sentences. In short, it is sobering to think how little has appeared to have changed in this (potentially great) country in the near half century since Shostakovich's death. I'm sure I speak for many in hoping things change for the better for everyone affected by this tragedy very soon.
Meantime, it is good that Shostakovich's music can speak to so many people in many different ways and it is fortunate that we are able to both appreciate this (or not, in some cases), as well as debate its merits and true meaning safe in the knowledge that we will never know the full truth. For me, it is an endlessly fascinating subject and I am glad to be discussing it with other equally well-informed folk here on the MWI noticeboard !
Best,
lee
Hello Lee. I love your review of this Presto re-issue and I commend you for taking the trouble to place this music into its historical context.
I especially loved your point about how a certain Yankee Dude loves Neemi because he DIDN'T do German repertoire, as though recording German music is a kind of 'Sturm und dreck' therefore infra dig enterprise in these modern enlightened times...
As you rightly, in my opinion, point out that when Neemi did record standard repertoire he always proves to be a competent time beater, nothing more.
With regard to the two Shostakovich Symphonies, one can waste many unreclaimable hours discussing the origins, the political climate he wrote this music in, but the bottom line is that like the Leningrad Symphony, numbers 11 and 12 are simply second rate Shostakovich. It's as simple as that...
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