Shostakovich: Hypothetically Murdered, Four Romances, Fragments for Orchestra & Jazz Suite No. 1

Signum: SIGCD051

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Shostakovich: Hypothetically Murdered, Four Romances, Fragments for Orchestra & Jazz Suite No. 1

Label:

Signum

Catalogue No:

SIGCD051

Discs:

1

Release date:

11th Oct 2004

Barcode:

0635212005125

Length:

70 minutes

Medium:

CD (download also available)

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Shostakovich: Hypothetically Murdered, Four Romances, Fragments for Orchestra & Jazz Suite No. 1


Shostakovich:

Hypothetically Murdered, Op. 31a - Orchestral Suite

Four Romances on Poems by Pushkin, Op. 46

Dimitri Kharitonov (bass)

Fragments (5) for orchestra, Op. 42

Jazz Suite No. 1


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Dmitri Shostakovich: Hypothetically Murdered

Act I (Part I) - Transition to the Field Hospital

Act I (Part I) - Gallop

Act I (Part I) - Transition to the Field

Act I (Part I) - The Field (Landscape)

Act II - Introduction

Act II - Petrushka (Garmoshka)

Act II - Storm

Act II - The Arrival of the Lorry

Act II - Dance

Act II - Transition to the Kitchen (Jugglers and Waitresses)

Act II - Waitresses

Act III - The fight of the Cherubim

Act III - The Flight of the Angels

Act III - Adagio

Act III - Bacchanalia of John of Knonstadt and Paraskeva Piatnitsa

Act III - Waltz

Act III - The Archangel Gabriel's Number

Act I (Part II) - Polka

Act I (Part II) - March

Act I (Part II) - The River Bed

Act I (Part II) - Finale: Dance of the Temporary Victors

Dmitri Shostakovich: Four Romances on Poems by Pushkin, Op. 46 for Bass and Chamber Orchestra (1937)

I. Rebirth

II. Jealousy

III. Foreboding

IV. Stanzas

Dmitri Shostakovich: Five Fragments, Op. 42 (1935)

I. Moderato

II. Andante

III. Largo

IV. Moderato

V. Allegretto

Dmitri Shostakovich: Suite No. 1 for Jazz Band, Sans Op. E (1924)

I. Waltz

II. Polka

III. Foxtrot (Blues)

BBC Music Magazine

November 2004

****

“…'hypothetically murdered'… Shostakovich's long-lost score for a 1931 music-hall show… enjoys a timely resurrection. …you'll enjoy the first incarnation of romps recycled in Lady Macbeth of Mtsensk and the First Piano Concerto, as well as the discreet tinklings of the bar-room piano, the excellent, jazz-friendly CBSO soloists who also savour the solos of the jazz suite at the other end of the programme, and the authentic wail of the flexatone.”

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