• AUD9121830 Katalognummer
  • 760623183060 EAN
  • SACD Format
  • 2014 Utgivelsesår

dogma chamber orchestra

Gurewitsch, Mikhail (dirigent)

Shostakovich, Dmitri


Shostakovich, Dmitri: 

24 Preludes op. 34 Version for String Orchestra by G. Korchmar (1990)
String Quartet No. 8 op. 110


Dmitri Shostakovich committed his twenty-four preludes to paper with great ease. The master of wit, irony, satire, and deeper meaning required precisely two months to write them down. The dogma chamber orchestra now for the first time has recorded these precious gems, originally composed for piano, in a version for string orchestra lending new dimensions to the profound humor of the original.

There are broadly flowing string passages like those in the third prelude, which Shostakovich composed on New Year’s Eve 1932, or waltzes that within a few seconds are transformed into highly virtuosic chaos (No. 2). A grotesque march (No. 16) is followed by an idyllic and kitschy violin solo taking aim at salon-style virtuosity. The crazy cascades of the violins in No. 5 are breathtaking!

Complex. Incisive. Undogmatic The dogma chamber orchestra Presents Shostakovich

What another world comes into view in Shostakovich’s String Quartet op. 8; dedicated “To the Victims of Fascism and the War,” it is certainly one of the most intensive chamber compositions of the twentieth century. In this rendering by the dogma chamber orchestra, the piece grows into a mighty symphony situated between vociferous accusation and the most despondent loneliness – emotionality intensified to the breaking point.

On this new recording the ECHO award-winning dogma chamber orchestra once again underscores its top rank. And its conductor Mikhail Gurewitsch fulfills a lifelong dream for himself and his musicians with two works by Dmitri Shostakovich – a personal connection conveyed to listener as well. And the works appear to have been made to order for the young, completely undogmatic musicians, so incisive, natural, and compellingly complex do they indeed represent these various sound dimensions – thanks to SACD technique in the full spatial picture of 2+2+2 sound.


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