Mark Wigglesworth recorded his cycle of Shostakovich's symphonies between 1996 and 2010, collaborating with two different orchestras, the Netherlands Radio Philharmonic Orchestra and BBC National Orchestra of Wales. In spite of the long gestation and the change of orchestra midway, the cycle was described as one never 'compromising it's particular characteristics of high seriousness, fine detailing and a certain fierceness of articulation' (Gramophone). Already the first instalment - Symphony No. 7, 'Leningrad' - raised expectations, for instance with the reviewer in The Sunday Telegraph: 'There is plenty of competition among Shostakovich cycles, but this one will deserve serious consideration.' And 17 years later, on the release of the final album, The Guardian could report that 'Wigglesworth's cycle emerges as one of the finest of recent time'. What particularly impressed reviewers was Mark Wigglesworth's faithfulness to the score and sharp ear for detail, and the structural clarity he achieved even with the most complex works - without sacrificing any of their impact and emotional power.
Mark Wigglesworth recorded his cycle of Shostakovich's symphonies between 1996 and 2010, collaborating with two different orchestras, the Netherlands Radio Philharmonic Orchestra and BBC National Orchestra of Wales. In spite of the long gestation and the change of orchestra midway, the cycle was described as one never 'compromising it's particular characteristics of high seriousness, fine detailing and a certain fierceness of articulation' (Gramophone). Already the first instalment - Symphony No. 7, 'Leningrad' - raised expectations, for instance with the reviewer in The Sunday Telegraph: 'There is plenty of competition among Shostakovich cycles, but this one will deserve serious consideration.' And 17 years later, on the release of the final album, The Guardian could report that 'Wigglesworth's cycle emerges as one of the finest of recent time'. What particularly impressed reviewers was Mark Wigglesworth's faithfulness to the score and sharp ear for detail, and the structural clarity he achieved even with the most complex works - without sacrificing any of their impact and emotional power.
7318599925936

Details

Format: CD
Label: BIS
Rel. Date: 06/04/2021
UPC: 7318599925936

Symphonies (Box) (Hybr)
Artist: Shostakovich / Wigglesworth
Format: CD
New: Available $83.99
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Available Formats and Editions

DISC: 1

1. Symphony No. 1 in F Minor, Op. 10
2. I. Allegretto - Allegro non troppo
3. II. Allegro
4. III. Lento -
5. IV. Allegro molto
6. Symphony No. 2, Op. 14, "Oktyabryu" (To October)
7. Largo -
8. quarter note = 152 -
9. quarter note = 152 -
10. Meno mosso
11. Symphony No. 3, Op. 20, "Pervomayskaya" (The First of May)
12. I. Allegretto -
13. Track 13
14. II. Più mosso -
15. Track 15
16. III. Andante -
17. Track 17
18. IV. Allegro -
19. Track 19
20. V. Andante -
21. Track 21
22. VI. Moderato -
23. Track 23
24. III. Allegro
25. Symphony No. 4 in C Minor, Op. 43
26. I. Allegretto poco moderato - Presto
27. II. Moderato con moto
28. III. Largo - Allegro
29. Symphony No. 5 in D Minor, Op. 47
30. I. Moderato
31. II. Allegretto
32. III. Largo
33. IV. Allegro non troppo
34. Symphony No. 6 in B Minor, Op. 54
35. I. Largo
36. II. Allegro
37. III. Presto
38. Symphony No. 7 in C Major, Op. 60, "Leningrad"
39. I. Allegretto
40. II. Moderato poco allegretto
41. III. Adagio - Trio - Moderato risoluto -
42. IV. Allegro non troppo
43. Symphony No. 8 in C Minor, Op. 65
44. I. Adagio
45. II. Allegretto
46. III. Allegro non troppo
47. IV. Largo
48. V. Allegretto
49. Symphony No. 9 in E-Flat Major, Op. 70
50. I. Allegro
51. II. Moderato
52. III. Presto -
53. IV. Largo -
54. V. Allegretto - Allegro
55. Symphony No. 14, Op. 135
56. I. De profundis: Adagio
57. II. Malagueña: Allegretto -
58. III. Loreley: Allegro molto -
59. IV. The Suicide: Adagio
60. Track 60
61. V. On the Watch: Allegretto
62. Track 62
63. VI. Madam, look!: Allegretto -
64. Track 64
65. VII. In the Sante Prison: Adagio
66. Track 66
67. VIII. The Zaporozhian Cossacks' Answer to the Sultan of Constantinople: Allegro -
68. Track 68
69. IX. O Delvig, Delvig!: Andante
70. Track 70
71. X. The Poet's Death: Largo -
72. Track 72
73. XI. Conclusion: Moderato
74. Symphony No. 10 in E Minor, Op. 93
75. I. Moderato
76. II. Allegro
77. III. Allegretto - Largo - Più mosso
78. IV. Andante - Allegro - L'istesso tempo
79. Symphony No. 11 in G Minor, Op. 103, "The Year 1905"
80. I. The Palace Square -
81. II. The 9th of January -
82. III. In memoriam -
83. IV. The Tocsin
84. Symphony No. 12 in D Minor, Op. 112, "The Year of 1917"
85. I. Revolutionary Petrograd -
86. II. Razliv -
87. III. Aurora -
88. IV. The Dawn of Humanity
89. Symphony No. 15 in A Major, Op. 141
90. I. Allegretto
91. II. Adagio
92. III. Allegretto
93. IV. Adagio ^1
94. Symphony No. 13 in B-Flat Minor, Op. 113, "Babi Yar" ^1
95. I. Babi Yar: Adagio ^1
96. II. Yumor (Humor): Allegretto ^1
97. III. V Magazine (At the Store): Adagio ^1
98. IV. Strachi (Fears): Largo ^1
99. V. Kariera (Career): Allegretto

More Info:

Mark Wigglesworth recorded his cycle of Shostakovich's symphonies between 1996 and 2010, collaborating with two different orchestras, the Netherlands Radio Philharmonic Orchestra and BBC National Orchestra of Wales. In spite of the long gestation and the change of orchestra midway, the cycle was described as one never 'compromising it's particular characteristics of high seriousness, fine detailing and a certain fierceness of articulation' (Gramophone). Already the first instalment - Symphony No. 7, 'Leningrad' - raised expectations, for instance with the reviewer in The Sunday Telegraph: 'There is plenty of competition among Shostakovich cycles, but this one will deserve serious consideration.' And 17 years later, on the release of the final album, The Guardian could report that 'Wigglesworth's cycle emerges as one of the finest of recent time'. What particularly impressed reviewers was Mark Wigglesworth's faithfulness to the score and sharp ear for detail, and the structural clarity he achieved even with the most complex works - without sacrificing any of their impact and emotional power.