posted 05-24-1999 09:17 PM            

"So, who do they like? And, who do we like? Shosty's one of my faves, but Bernie and
Andre are about the only conductors of his symphonies that I've been exposed to
(except for Lenny for the 5th and Jean M. for the 1st). Sound quality is, perhaps, a
bigger factor for me for music like the Shosty symphonies, but I'd still like to hear a wider variety of performances."

Thought I should drag this thread over to the classical forum. Hope that's okay.

I would be on thin ice if I tried to characterize the tastes of the Shostakovitch list. Many members of that group are eminent DSCH scholars and musicians. So I'll just make a couple of broad generalizations and then speak for myself.

I think Haitink is seen as just too pedestrian and unadventurous by many. I don't share that opinion. As I've said, his fourth and eighth are terrific IMHO. However, in the main, your safest bet is to get any decently recorded DSCH symphony as conducted by Evgeny Mravinsky (the greatest of all Russian conductors, living or dead. He seemed almost to be joined at the hip with the composer) or by Gennady Rozhdestvensky (perhaps the greatest living Russian conductor). For specific Symphonies, I would recommend Stokowski for the 1st (United Artists UAS 8004), 5th (Everest) and 11th (get the EMI, if you can. There are a lot of bad pressings of this great performance). The 5th as recorded by Karel Ancerl and the Czech Philharmonic for Supraphon (also available as a Parliament reissue) is the most lyrical version of this warhorse I've ever heard. Some of those who have had the opportunity rave about the symphonies that have been recorded by Kurt Sanderling. I haven't found one yet, but like his work generally. The best Leningrad (7th) I have heard is done by Yevgeny Svetlanov & the USSR Symphony (Angel/Melodiya) My favorite 14th is done by the composer's friend Mstislav Rostropovitch (Columbia/Melodiya).

It's fun to collect original Melodiya pressings, but they can be hard to listen to. I'm told it often requires a fatter stylus than many of us use to get the most out of them.

Oh, and I don't care for Lenny's neurotic version of the 5th, although his 7th is fine. Don't know why anyone thinks that Previn's 8th is so great when they can get Haitink. :-)

Regards,

posted 05-24-1999 09:40 PM            

>Oh, and I don't care for Lenny's neurotic version of the 5th, although his 7th is fine.

Yes, I think so too, and his distortion of the the coda is plain wrong. His DG disc of 6 and 9 is great, I think, and excellent sound on LP. Is it the DG 7th you like or the Columbia?

Rozhdestvensky did several of the symphonies, or maybe the whole cycle, with the Ministry of Culture SO in the early 80s. I have several on JVC CDs, and they are fabulously intense.

posted 05-25-1999 12:14 AM            

quote:

---

Yes, I think so too, and his distortion of the the coda is plain wrong. His DG disc of 6 and 9 is great, I think, and excellent sound on LP. Is it the DG 7th you like or the Columbia?

---

The Columbia.

quote:

---

Rozhdestvensky did several of the symphonies, or maybe the whole cycle, with the Ministry of Culture SO in the early 80s. I have several on JVC CDs, and they are
fabulously intense.

---

His 10th on Melodiya CD (Sorry, don't have it on vinyl) is just plain scary. The Allegro is visceral. But I have to say that I think a better version is Mravinsky's with the Leningrad PO on Erato (CD again) from a radio broadcast, I believe. It's intense without being wild. I really like them both. OTOH, there's Karajan's on DG which quite a few people seem to like. But I feel that it lacks soul.

quote:

---

I'd like to check out the Shost. group. do they publish a digest?

---

No, but there are archives available.

quote:

---

Dsch-l archives are available through listserv.

Archives are available two separate ways. First, you can browse the archives through the web. To do so, point your browswer to:

http://listserv.uh.edu

You will see a list of archives available at that site. Simply click on Dsch-l and you will be taken to the archives. You can
read the archives themselves, which are compendiums of each month's posts, or you can enter a search string and you will be
given specific posts that match your search.

---

If you wish to subscribe: Write to LISTSERV@LISTSERV.UH.EDU and, in the text of your message (not the subject line), write: SUBSCRIBE DSCH-L

It's a fairly low volume list and pretty academic for the most part.

Regards,

Jim

posted 05-29-1999 01:39 AM            

quote:

---

It's a fairly low volume list and pretty academic for the most part.

---

If anybody has been reading the posts on this list for the past few days, you'll find some of the most egregious mud-slinging I've had the pleasure of reading in ages. Politics and jingoism. Not much about music right now. But the number of posts has about tripled! Nothing worse than an outraged intellectual, unless it's a reformed smoker.

Regards,

posted 06-04-1999 09:59 PM            

I just won an auction for the minimum bid of $2.00 U.S. for a Philips disc of Haitink/Concertgebouw playing The Shostakovitch 12th Symphony. It's a 1983 (read digital) recording and the cover is less than mint, but the performance promises to be interesting. I've already said that the same forces performing the 4th and 8th have moved to the forefront among my DSCH favorites. My favorite 12th is by Mravinsky/Leningrad on Angel/Melodiya. So it would take an awfully good reading to win me over. But for two bucks plus shipping, who cares?

So while the collectors were falling all over themselves clawing for the prized shaded dog or FR Merc; sniping each other at the bidding finish line, I was the only bidder for this album. Strikes me as strange. Are there many collectors who also love music? Or are my tastes just too narrow?

Regards,

posted 06-08-1999 10:22 PM            

"So while the collectors were falling all over themselves clawing for the prized shaded dog or FR Merc; sniping each other at the bidding finish line, I was the only bidder for this album. Strikes me as strange. Are there many collectors who also love music? Or are my tastes just too narrow?"

I think the whole point of eBay is to get one's hands on really rare records that can't be picked up locally. Then too, the cost of shipping relative to the value of the record is a factor--paying $5 shipping on a $75 record is one thing, on a $2 record something else. If I were looking for the Philips, I'd just wait until it turned up at a local vinyl emporium, and then buy it in a pile of similar items.

If anyone is interested in audiophile Shostakovich, I am listening right now to the 5th with Skrowaczewski and the Minneapolis on an early pressing of Mercury SR90060, a new acquisition. The performance is seems OK, and really hearing the full orchestral colors of the piece is really something. Worth trying if found.

posted 06-09-1999 08:03 AM            

quote:

---

If I were looking for the Philips, I'd just wait until it turned up at a local vinyl emporium, and then buy it in a pile of similar items.

---

In my locale, the local vinyl emporiums are no longer buying/selling used classical vinyl, although other genres are represented. Is this true anywhere else?

posted 06-09-1999 10:33 AM            

quote:

---

In my locale, the local vinyl emporiums are no longer buying/selling used classical vinyl, although other genres are represented. Is this true anywhere else?

---

Here on Planet NJ, we have the Princeton Record Exchange with plenty of classical vinyl. The other dealers usually carry some
classical but not that much.

The dealer closest to me (in PA) will pick up a collectable classical LP if it comes his way but doesn't actively seek Columbias or less collectable recordings.

-Al

posted 06-10-1999 10:21 PM            

It's a very good recording, well worth the modest price I paid and on a par with the Mravinsky as far as performance is concerned and better re recorded sound. Was it Lanny who enthused over the bass drum in the Leibowitz "Sacre"? Check out the percussion in the 4th movement of this one! To paraphrase George S. Patton: "Hi-Fi! God help me, but I do love it so!"

Quoth Susan:

quote:

---

In my locale, the local vinyl emporiums are no longer buying/selling used
classical vinyl, although other genres are represented. Is this true anywhere else?

---

Not much to crow about in Fresno county to begin with. There are two within a couple of blocks of each other. One has a pretty good turnover of used vinyl and the owner cares about the condition of what he sells which is always priced fairly. But he gave up on classical years ago. He told me he could only offer anyone about 50 cents apiece for anything they had and would probably take a loss anyway. So I go there for rock and jazz.

Down the street is a place chock full of LPs, 45s and 78s. A fair amount of classical. But no turnover. The stuff's been there for eons. The owner, a retired lady, is doing well to keep the light bill paid. I don't think she actively tries to build her trade.

So I either desultorily troll the waters of Ebay or hit the out of town places when I'm on the road. I'll be making a stop at Amoeba Records in Berkely next week. Still looking for that stereo Bernstein/Sacre.

------------------
"Even cowboys need Mozart"

posted 06-11-1999 03:48 PM            

I'm a happy camper! I just got the Shostakovich 12th (Haitink/Concertgebouw) I mentioned earlier. First a correction: It's London (LDR 71077), not Philips. And it is better than near mint. It's MINT! Just a very slight digital edge to the sound which is more than compensated for by the warm and spacious acoustic of chez Concertgebouw. I've heard the orchestra play, but never in their own hall. It must be quite an experience. Henny? Care to elaborate?

Hi Jim,
How about flying over some day, so you can hear it with your own ears :-))

Because I was born in Amsterdam I went regularly to "Het Concertgebouw". I love the sound of the Hall. It's fantastic and beyond words. It's funny but indeed you can recognize the acoustic of the hall on record and cd! My friends and I often played the game 'which hall, with what kind of orchestra'. Of course I have heard Haitink with "Het Concertgebouworkest" life, alas not yet with Shosty.
But I did hear Shostakovitch 14th symphony there, when I was young, with another Orchestra. An unforgettable experience.

posted 06-11-1999 08:46 PM            

quote:

---

Hi Jim,
How about flying over some day, so you can hear it with your own ears :-))

---

I'm not sure if my Alaskan Airlines frequent flyer miles will get me that far away from true north. But I'm certainly going to keep it in mind!

quote:

---

I have a Russian record with Mavrinsky (Melodia 09395-96 with a Russian description) but I like Kondrashin better.

---

I have two of the same Mravinsky recording: one Melodiya transcription printed by the Connoisseur Record Corp. (MK 1580) The sound is excruciating. The other is on Angel/Melodiya SR-40128). It's in stereo and is much better. I like it a great deal. Haven't heard the Kondrashin, but I imagine it would be worthy.

------------------
"Even cowboys need Mozart"

posted 06-16-1999 09:40 PM            

quote:

---

So I either desultorily troll the waters of Ebay or hit the out of town places when I'm on the road. I'll be making a stop at Amoeba Records in Berkely next week. Still looking for that stereo Bernstein/Sacre.

---

Didn't find much this trip. No Lenny/Sacre. Got a couple of laserdiscs (Amoeba's great for used LDs). I did nab a Chandos pressing of the Arnold Bax 2nd Symphony with Bryden Thomson and the LPO. I was glad to see I didn't already have it when I got home & checked.

This might be a good topic to crank up. Any other Bax fans out there? For most of his output you have to look to Chandos or Lyrita, it seems. Any favorites?

------------------
"Even cowboys need Mozart" (or Bax)

Jim

posted 06-16-1999 10:16 PM            

I too do the record store tours when traveling, and since Susan and Tom Murray and I share the same home city, I also share their travails. In fact, Tom and Susan are my best fix for good classical vinyl.

posted 06-27-1999 04:53 AM            

But one I did sit down and listen to a couple of months ago was the 13th.
That I found so compelling that I couldn't move until the end (except to
turn the thing over of course). The performance is noted as the "premiere
recording" on Nov 20th 1965, by the Moscow Ph. Orch and Male Chorus under
Kondrashin (Vital Gromadsky bass). It seems it was only the second
performance, after which is was banned (due to the poem "Babi Yar").

Regrettably, this would have to be one of the worst recordings of anything
I have. I have an Australian World Record Club release, I would guess from the
late 60s (judging by the label style, and because it's on good vinyl).
Now WRC released recordings under arrangements with other companies. In
this case, the attribution is merely "an Everest recording".

I'd be curious to know some more about the original Everest version. Not
that I would expect it to be much better sonically, because the
deficiencies are clearly in the recording technology.

I'd be interested in what you think are good recordings of this work, so
I can keep an eye out for them on the few occasions I get to go record
hunting.

posted 06-27-1999 11:22 AM            

quote:

---

(but currently playing the 5th by Ormandy / Philadelphia on RCA Red Seal
"quadradisc"; performance-wise, I htink it will warrant more attentive listening, but sonically a little disappointing with "dry" top end).

---

This is actually a pretty good performance. At least I like it. There are non-quad issues of this same record, so you may want to search for it. I've had both, and like the extra "air" I seem to get with the quad. No accounting for tastes.

Re the 13th:

quote:

---

I have an Australian World Record Club release, I would guess from the late 60s (judging by the label style, and because it's on good vinyl). Now WRC released recordings under arrangements with other companies. In
this case, the attribution is merely "an Everest recording".

---

The Everest copy (3181) is in "electronically enhanced stereo", so isn't that collectable in terms of sonics. There are plenty of other versions out there which I'm sure others can suggest. This could even include another Ormandy RCA effort with the Philadelphians from 1970 (LSC-3162). I'm afraid it's dynagrooved, but worth a listen anyway if you can find a copy.

------------------
"Even cowboys need Mozart"

Jim

posted 06-27-1999 04:35 PM            

quote:

---

This might be a good topic to crank up. Any other Bax fans out there? For most of his output you have to look to Chandos or Lyrita, it seems. Any favorites?

---

Actually there is a very good recording on UK RCA. It msut have sold quite well because there is an original and a reissue. I don't remember the title & artists as I am not at home. I will look it up later tonight. I do remember I liked it very much.

------------------
Regards,
Phil Hargis

posted 06-27-1999 04:42 PM            

quote:

---

I'd be curious to know some more about the original Everest version. Not that I would expect it to be much better sonically, because the deficiencies are clearly in the recording technology.

---

Original Everest pressings with the light-blue/silver label, the LP in a dowel-spined inner jacket, and a silver-backed outer-jacket are so far superior to later pressings that you can tell absolutely nothing about the recording from the older pressings. The purple/silver label in a silver-backed outer-album jacket is also almost indistinguishable from the light-blue/silver label pressings. Get the orignal, if at all possible. You will be amazed!!!!!!!

------------------
Regards,
Phil Hargis

posted 06-28-1999 08:57 AM            

Jim wrote:

quote:

---

I've had both, and like the extra "air" I seem to get with the quad.

---

I agree -- in general. That's my experience with most of my quadraphonic
recordings. Especially Japanese pressings. But this one (the 5th) is
lacking in that respect. Maybe I have a poor pressing.

Thanks for the info re Everest (I presume that's a "later" Everest), and
the Ormandy sugegstion.

posted 06-29-1999 01:57 AM            

quote:

---

Actually there is a very good recording on UK RCA. It must have sold quite well because there is an original and a reissue. I don't remember the title & artists as I am not at home. I will look it up later tonight. I do remember I liked it very much

---

Ok all you closet Bax lovers. Here is the Bax LP I was referring to:

Bax: Sym.3 & Symphonic Poem "The Happy Forest", UK RCA SB6806; reissued on UK RCA Gold Seal GL 42247; Edward Downes conducting the London Symphony Orchestra, 1969.

A recording with very nice sonics which all Bax lovers will enjoy.

------------------
Regards,
Phil Hargis

posted 06-30-1999 12:05 AM            

quote:

---

Thanks for the info re Everest (I presume that's a "later" Everest), and
the Ormandy sugegstion.

---

Yes. Blue, orange & yellow label. And Phil is right on point about the silver backed Everests. In this record, I'm not sure there was an earlier Everest pressing. Phil?

quote:

---

In this particular case, comparing
my WRC 13th with the Everest from which it was derived, I was trying to say that I wouldn't expect a huge improvement because it's clear that it is fundamentally flawed at the recording stage. A pity -- it's a performance from the heart.

---

Among some Shostakovitch devotees, a sumptuous recording of the 13th is considered something to be avoided. The subject is grim and harsh and so should be the recording. I don't exactly to subscribe to this notion, but I can understand it. Hate to admit it, but my favorite of this work is on Chandos CD from 1987: City of Birmingham SO, Okko Kamu cond., Nikita Storojev, bass. A strong performance, passionately delivered.

------------------
"Even cowboys need Mozart"

Jim

posted 06-30-1999 12:08 AM            

quote:

---

Bax: Sym.3 & Symphonic Poem "The Happy Forest", UK RCA SB6806; reissued on UK RCA Gold Seal GL 42247; Edward Downes conducting the London Symphony Orchestra, 1969.

---

The big question: What are the chances of someone in the U.S. finding a copy of this?

------------------
"Even cowboys need Mozart"

posted 06-30-1999 09:08 PM            

quote:

---

The big question: What are the chances of someone in the U.S. finding a copy of this?

---

Well Jim, since I reside in the sunny southwest (NM) I took your lament to heart. I found one copy at Princeton Record Exchange on the east coast and another on the west coast at Amoeba. Each for the wopping price of $2.99. So, I guess the odds are pretty good if you get to the east or west coasts. This is one those LPs you are not likely to see on a dealer list because it is not considered collectable. That IMO does not make it any less desirable. In fact, I love it, becasue it keeps the price low and the LP could languish unforgotten in some bin for years and years. Its a curious quirk of the LP collecting market that rare audiophile LPs are easy to find, you just have to be willing to pay the price (just look at the number of rare classical LP dealers on the web). Whereas, non-audiophile LPs are the most difficult to find because no one is looking for them and no dealer wants to stock them. IMO, the best places to find nice non-audiophile LPs are those carrying large stocks of what most people would consider "junk", but I generaly consider the true treasures. Happy hunting.

------------------
Regards,
Phil Hargis

posted 06-30-1999 09:24 PM            

quote:

---

I found one copy at Princeton Record Exchange on the east coast and another on the west coast at Amoeba. Each for the wopping price of $2.99.

---

Would you believe I was delving through the Bax bin about two & a half weeks ago at Amoeba? Didn't see it then. Did you beat me to it or did I just miss bumping heads with you that day?

------------------
"Even cowboys need Mozart"

posted 07-02-1999 10:00 PM            

quote:

---

Would you believe I was delving through the Bax bin about two & a half weeks ago at Amoeba? Didn't see it then. Did you beat me to it or did I just miss bumping heads with you that day?

---

Well Jim our paths did not just miss as I was last at Amoeba in January. I have been back to the Bay Area a few times since then but have unfortunately not had time to sample the vinyl goodies. I believe the Bax showed up at the SF store. Do you have a preference as to whether you prefer the Berkeley or SF store.

------------------
Regards,
Phil Hargis

posted 07-02-1999 10:20 PM            

quote:

---

I believe the Bax showed up at the SF store. Do you have a preference as to whether you prefer the Berkeley or SF store.

---

Most of the time I find myself in the East Bay, so I haven't been to the SF Amoeba outlet. I like the Berserkeley store because Rasputins is right up the street. If I haven't spent all my disposable cash by the time I exit one, I can then hit the other.

------------------
"Even cowboys need Mozart"

Jim

posted 07-07-1999 09:39 AM            

Last week I did sit and listen properly to the Ormandy 5th. It is indeed an
excellent performance. And what I described (listening over my shoulder
whilst typing) as "dry" would more correctly be termed "crisp" and
"precise". The string tone is in fact superb -- the sort of thing that CDs
can only dream about (and serves as a reminder of why we play these antiquated
black lumps of vinyl!). In future I'll be more careful about making
judgements from the wrong position -- or buy a 2m phone extension for my
laptop and work in the best position!

And listening again to the 13th after several months, the recording itself
isn't quite as bad as I thought, and there is a fair amount of surface
noise. So I will look out for the Everest version of the performance
(unlikely as it might be to find it). But the recording does somewhat mute
the "carnival squeaks" and "hooligan squawks" and "gratuitous dissonances"
that have more bite on a modern recording. BTW the quotes are from the 1986
British film "Testimony" on the life of DS -- spoken by a government
spokesman of the Stalin era condemning the lack of "responsibilty" of
contemporay Russian composers (and referring esp to the 9th). The film puts
a flashback to this over the 13th (London Philharmonic) and thereby sets
the "responsibilty" for musical relevance that Stalin demanded against that
perceived by DS to address themes such as Babi Yar. Quite effective.

Talking of looking for vinyl, I'll be in Los Angeles next week (2 hrs flight
to Sydney, then 14 to LA -- something to look forward to). I'll be staying
in Long Beach, and working at USC (near downtown) and ISI (Marina del Rey).
Suggestions for one or two interesting places in that vicinity would
be appreciated.

posted 08-08-1999 03:18 AM            

Lest it be thought that I spend my meagre listening hours comparing shades
of dark in DS symphonies, I'll mention that bought other stuff as well,
notably two more performances (total about 10 now) of Symphonie Fantastique
(superb mono Beecham performance, and a sonically stunning Stokowski with
the New Phil Orch on London Jubilee (ie Decca)). Plus a nice Basie
"Chairman of the Board" (Roulette), an ECM guitar music set, and a NM copy
of Michelle Shocked "Short Sharp Shocked" (greeted at check out with
"where did you find THAT?" -- maybe they disappear quickly?).

posted 08-08-1999 10:46 AM            

quote:

---

Talking of looking for vinyl, I'll be in Los Angeles next week (2 hrs flight to Sydney, then 14 to LA -- something to look forward to). I'll be staying in Long Beach, and working at USC (near downtown) and ISI (Marina del Rey). Suggestions for one or two interesting places in that vicinity would be appreciated.

---

If you have the time, I would suggest looking up member Ralph Harris in the northern mountains. I feel certain he has an outstanding collection and could possibly lead you to the Salvation Army superstore.

Speaking of Shostakovich, has anyone read Pages from the Life of Dimitri Shostakovich by the Sollertinskys? I got about half way through the book before being put off by what I felt was Soviet sanitization.

BTW, one of the things I like about having the forums on the web is that threads really never die. Anyone may revive them at any time if they have something to add.

Have fun on your trip!

posted 08-08-1999 07:19 PM            

quote:

---

I think this thread is dead, but couldn't resist mentioning a performance
I picked up recently at Record Surplus in LA. That's Symphony 9 plus the Yevtushenko poem "The execution of Stepan Razin" (Moscow Phil,
Kondrashin, Melodiya/Angel SR40000). I think it's an excellent performance, and suprisingly good sonically.

---

Still alive and well! And yes, this is a very good performance of both the symphony and the Poem. I don't think it's especially rare, but the performance is great. Kondrashin is one of a few Russian conductors who always seemed to do well in the DSCH works. I hope your copy had the leaflet with the translation of the poem. The words in Russian are highly evocative and it's interesting to see the English equivalents and to realize that Yevtushenko himself used his language almost like a musical instrument.

And not only Shostakovitch:

quote:

---

Plus a nice Basie "Chairman of the Board" (Roulette)

---

Almost any Basie/Roulette combination is well worth getting. The best transfers I've heard are the ones on Mosaic, but, alas, I've never acquired them.

------------------
"Even cowboys need Mozart"

Jim

posted 08-09-1999 01:08 AM            

quote:

---

After a bit of a search, I finally found a Yevgeni Mravinsky-conducted
Shostakovich in decent shape, on Melodiya mono (MK 219-B.) It's a two-record box containing two works: the Symp. #8, and something special, the Quartet No. 4 in D Major, the Beethoven Quartet.

---

If you have the will to listen to the less than stellar sonics, this performance does have its rewards. In some ways it might be considered a benchmark for this work. As far as other versions go, HP's list includes the EMI recording with Previn and the LSO. I have a copy of this performance on Angel and it is awful in terms of sound. The Mravinsky is preferable, IMO. My current favorite is the one on London/Decca by the Concertgebouw under Haitink. Great dynamics and a huge orchestral palatte (to mix a metaphor). Try very hard to get a vinyl copy. The CD is readily available, but not nearly as riveting. I'm guessing it has something to do with the inherent rhythmic disparities between CD and vinyl, but I'm reaching here.

I just discovered that I have an unplayed copy of the 14th Symphony that has been hiding from me in my shelves. It's by the Moscow Chamber Orchestra under Rudolph Barshai. I've been comparing the versions of Haitink and Rostropovich. I'll have to add this to the mix and report in later.

------------------
"Even cowboys need Mozart"

posted 08-10-1999 09:45 AM            

Susan and Ralph: thanks a lot for the tip, and the offer. Can't make it
this time -- I got back from the LA trip a few days ago! But I seem to
end up there quite regularly, so I may well be in touch. Of course, if
anyone is ever down this way in the deep antipodes, feel free to get
in touch. Re the mountains: when in LA, there were enormous thunderclouds,
storms and flash floods -- couldn't help but be amused by one quote from
a news report that went something like "I've been living here for 25 yrs
and seen lots of floods, but I knew this one was bad when I saw cars
floating down the street".

Jim said:

quote:

---

I hope your copy had the leaflet with the translation of the poem. The
words in Russian are highly evocative and it's interesting to see the
English equivalents and to realize that Yevtushenko himself used his
language almost like a musical instrument.

---

Yes the leaflet was there -- those poems are superb, and stunning with the
music.

posted 08-10-1999 10:37 AM            

quote:

---

So I will look out for the Everest version of the performance (unlikely as it might be to find it).

---

It truly is worth seeking out in the original Belock pressing; you should be able to find easy enough from an American source at a reasonable price (I would say around $15.00). Many of the Belock Everests are quite sonically stunning and I truly enjoy the Stokowski performances.

Cheers,

posted 08-15-1999 06:49 PM            

Ensemble of Soloists of the Moscow Philharmonic - Galina Vishnevskaya and Mark Reshetin, soloists - Mstislav Rostropovich, conductor - Columbia/Melodiya M34507

Concertgebouw Orchestra - Julia Varady and Dietrich Fischer-Dieskau, soloists - Bernard Haitink, conductor - London LDR-71032

Moscow Chamber Orchestra - Margarita Miroshnikova and Yevgeny Vladimirov, soloists - Rudolph Barshai, conductor - Angel/Melodiya SR-40147

This work dwells on portents of death and dying in eleven contiguous vignettes set to poetry by Lorca, Apollinaire, Kuchelbecker and Rilke. As such it has the potential to be stultifying and oppressive. Done properly, and with a little imagination, it can be revealing of the composer's views on life, politics and even love.

Both the Barshai and the Rostropovich use the texts of the poetry translated into Russian. The Haitink version uses the original languages of the poets. The Haitink performance has a languid and melancholy feel to it. The sound is spacious and somewhat recessed, giving a somewhat funereal impression. The Rostropovich is immediate and full-bodied without sounding dense or opaque. The Barshai is robust, but gives the distinct impression of having relied on multi-miking to achieve this.

Of the soloists singing the Russian texts, Vishnevskaya is the standout. She is passionate and gritty, just what Rostropovich seems to have wanted. The soloists in the Barshai recording are somewhat plodding and mechanical. The soloists for Haitink are a different matter. Varady and Fischer-Dieskau are world class singers. If anyone has heard their collaboration as the principals in the Deutsche Grammophon recording of Bartok's "Bluebeard's Castle", you have an idea of their dramatic potential when performing together. Their performance here is brilliant, rendering every required nuance in every phrase. But somehow, the overall approach of resignation and despair employed by Haitink makes the whole thing work less well than one might expect or hope for.

Rostropovich's overall approach is defiant and angry. The various aspects of the musical scenes give the very real impression of the composer's frustration with the status quo, in any way you might choose to imagine it. And, in the final analysis, this is what carries this performance to the head of the list. Not only great singing, but a coherent and intense interpretive point of view. This recording is indispensable. The Haitink has the virtue of wonderful soloists and is worth listening to for this alone. The Barshai, whatever value it may contain in sonics, is not worth repeated playing just for that feature.

An interesting side note: Comments have been made on the Shostakovitch list recently about the CD printing of the Rostropovich recording on Russian Revelation. While all seem to acknowledge the stature of the performance, they decry the poor sound, wondering if it is a mono recording. I sent a note to the list pointing out that the vinyl copies available have no such shortcoming. I was roundly ignored. I think that analogue playback just simply isn't an option for many DSCH aficionados these days. I was discussing the Russian Revelation label with the guy who works in the local Tower Classical section. He indicated that people had better hurry and buy what copies they can find of anything Russian Revelation pressed because their demise (due to copyright problems) will render it impossible to get these recordings anymore. I ventured the opinion that it would still be possible to find vinyl copies of various Melodiya recordings. He paused and thought about it for a moment and said, "Well, yes, there is always that."

------------------
"Even cowboys need Mozart"

posted 09-24-1999 02:05 AM            

Melodia 200 539-366 Moskau 1978. USSR Symphony Orchestra by J. Svetlanov

Svetlanov has a very high tempo in first movement, there’s no moment of peace. A few moments like the threatning undertone needs more clearness and that’s impossible with such a tempo.

The second movement where we can hear a sort of variation on a theme sounds lukewarm sad and gloomy.
The different instruments show up well, but I miss the spirit.

The third movement lively through its rhythm sounds dance a like and that’s no coincidence for it’s a dance the Tarentella. The trombone comes in triumphantically, The tempo is somehow in between but I miss the oh, so important spirit and then the Largo starts with the mighty opening by brass. The bassoon sing its song full melancholly like a complaint, it’s beautiful done by the player and makes you cry. This moves on into the last movement.
Softly the bassoon starts to play the theme from sadness to gladness. The Tempo goes faster and the tension grows. The strings sounds as always superb. It takes a while before it moves on in a kind of madness (actually it takes to much time) but finally we hear the Trombone again playing his triumphantically song and then it goes fast to an end.
I miss depth in this performance and I have the feeling Svetlanov doesn’t understand this symphony very well. I’ll will explain this later in a sort of reviev about this Symphony.

Philips 412 073-1 Amsterdam 1980 Concertgebouw Orchestra Amsterdam by Kirill Kondrashin.

Allegro.
The tempo is slightly slower then Svetlanov and this makes it more clear. A nice introduction of all instruments follows. And the mad dance by strings sounds great. The brass have something to tell so it seems. You can hear a threatning undertone between the “lines”. Sometimes the brass sound like a German band.
Moderato
A fantastic opening by, this is strange for me it’s a hobo and later the clarinet. The scores tells me it should be clarinet! The variation on a theme turn out well and as a Parade, all instuments come along. There’s a desparate undertone through this movement by woodwinds.
Presto
Woodwind followed by dancing strings that’s how it begins. The trombone sounds through it. And finally sings it’s song of Triumph. There’s a teasing atmosphere through this movement and then it finally disappears in mourning tones, taking over by the heavy Brass who majestically announce the complaining bassoon ( I have never heard such a sad song) but……..then it becomes softly lighter and moves into the last part. It sounds like somebody has private jokes. Slightly the tempo goes faster and the tension grows by the repetition of the strings. A dark background and above it complaning woodwind makes it a kind of sinister and the tension grows, it moves on very fast, nearly unbearable in a mad dance. At the background the brass it sounds desparate but……. the Trombone and brass finally turns it on in a somehow exuberant striking melody and in the end it sounds relieved, over and done.

Kondrashin has more feeling with this Symphony. The irony in this Symphony comes better in his rights. His tempi are in balance and the melodies sounds more clear. The music is exciting and Kondrashin makes you listening. What more do we want.

posted 10-03-1999 12:29 PM         

#1, #7 - Bernstein/CSO DG - great recordings, some of LB's best ever form6/88

#5 - Bernstein/NYPO Sony - the famous '59 Boston sym Hall rec.

#6 - Reiner PittsburghSO - from '45 - Sony Mastrworks Heritage - great price. good sound!

#8 - Solti/CSO -A real blockbuster - heard them do this live in Boston - just overpowering

#9, #10 - Sony(CBS) Portrait - Efrem Kurtz/NYPO #9, from '49; and Mitropoulos/NYPO from '54 on #10. Classics - great performances - 9 I've never heard equaled. #10 - Solti/CSO is very strong

posted 12-08-1999 11:04 PM            

The Ninth Symphony; Satire or Parody?

Henny van der Groep

Foreword.
When I was young I discovered Shostakovich's 14th Symphony. I was impressed by this piece of music and I decided to collect his works. It must have been around 1969 when I first heard of him. It was one of the rare occasions I went with my parents to a concert. As far as I remember, Shostakovich was not well known at that time. After the 14th I bought the Ninth Symphony. You can probably imagine my surprise. A greater contrast isn't possible.
It seemed an uncomplicated cheerful composition, while the 14th was a melancholy, sad and somehow desperate symphony about "Songs and Dances of Death" inspired by Moussorgsky.
Soon I collected as many of his works as I could afford. Inspired by his works I started to read about Russia and Stalin (before that I had read novels from writers like Pushkin, Gogol, Tolstoy, Dovstojevski and Boelgakov). That's the way I learned about Shostakovich's life, Russia and the political circumstances.
The 9th fascinated me. I couldn't get through to its "meaning" and I decided that if I had some time I would study this composition with the score.
The first thing I did was to listen "a hundred" times to the work and after that I started to write about the music. The idea from " the Catacombs" came through my knowledge of the music of Moussorgsky.
It's my deep devotion to the composer and his music that inspired me to write about the Ninth. For it's his music that counts, no matter what happened during his life.

Why does this Symphony fascinate me? If you don't listen carefully you might think it's an uncomplicated and cheerful work. It's a classic work in its clear structure and has much similarity with Prokofiev's "Classic Symphony". But in fact it's a Neoclassicistic work ! It seems a simple work but I became aware of many references, which I would like to show you.

First I need to explain something about history and the music he composed during that time of his life, for this determines its character.

I want to express my gratitude to Jan Koster, who inspired me in the first place. I wish to thank two people, who helped me with editing and advice: Jim McClanahan and Warner Immink. I want to thank Lex van Malsen for "lending" his ears. Finally I want to thank my husband Egbert Baars and Freek van der Groep for their never ending believing in what I am doing. Without all their help you wouldn't read this!

Background.

After having composed both Operas "The Nose" and "Lady Macbeth of Mtsensk District", Shostakovich was accused of Formalism in 1936. The Soviet authorities criticised his way of composing. Shostakovich used techniques too modern and too Western, according to the Russian standard. In other words it was not nationalistic enough. Pravda stated: "Muddle instead of music". That criticism also had to do with the erotic passage in Lady Macbeth where Shostakovich portrayed the bedroom scene by the use of trombones with a great sense of humour. It must have been rather shocking for Stalin and his "friends". The pressure of the Party must have been enormous (his family was threatened page 125 [5]), for he had to conform his style to the Classical model again. As we all know Shostakovich tried "to satisfy" the desired norm and wrote his subsequent symphonies this way, but…………...

In 1938 before the Second World War started, Hitler brutally killed many Jews in the terrible "Crystal Night"; A night everybody in the world followed with horror. And in 1939 Stalin and Hitler started to cooperate. In 1941 many Jews were killed in Russia.

Some important events happened during the War in Russia while Shostakovich wrote his 9th Symphony.

1. In 1941 The Nazi's murdered 200.000 Jews at Babi Yar in Kiev.

2. One of Shostakovich's students, Venjamin Fleischmann fell during the 900-day siege of Leningrad. In honour of his pupil Shostakovich completed and orchestrated his Opera, "Rothschild's Violin" in 1943.

3. After this he studied the Jewish culture and started to learn Hebrew.

4. His friend Sollertinsky died on 11 February 1944 at Novossibirsk (born 3 December l902 at Vietivsk). Shostakovich dedicated Piano Trio no. 2 in E minor opus 67 to his friend. It's well-known that the Finale contains a Jewish Theme. In the same period he wrote String Quartet no 2 in A Major.

5. A short time before Shostakovich wrote this Symphony, the USSR got involved in the War against Japan and the Balkans. At Monday morning the 6th of August 1945 at 8:15 the first nuclear bomb fell on Hiroshima; a dramatic episode in the world history.

The Ninth was written directly after the Second World War, from the 26th of July through the 30th of August 1945.

The Soviet authorities more or less expected that Shostakovich would write a heroic Symphony, as an homage to Stalin and to the people who served in the War. And this is what S. had in mind, for he wanted to compose a Symphony in Beethoven's style with a heroic final chorus [4]. Shostakovich's literal words were, that he would like to write a work with chorus, orchestra and soloist (in the end it became the 14th).
Shostakovich hinted to Stalin that he was working to a kind of apotheosis.
Stalin was very angry when S. composed a totally different work with no triumphant end. It seemed an exuberant, happy work. Again they accused Shostakovich of formalism.

Using extreme contrasts S. knows how to create different moods. By combining this with musical metaphorical references the work gets more depth or makes more sense.
It's my conviction that not everybody "understands" the work completely for you have to read between the lines, which the Russians have given a beautiful name.

What was the meaning of Shostakovich's apparent cheerfulness in this sublimely orchestrated Symphony?

At the end this Symphony becomes sarcastic, full of irony and secret amusement. You can hardly say it's happy or light-hearted, but you could call it playful as in a game with the authorities, who thought with baffling arrogance that they could dictate their rules to an artist like Shostakovich and thought that they could beat him. However, S. sarcasm and mockery worried the authorities and the rulers of the world, including Stalin and Hitler, in a way nobody could suspect and so he wrote a symphony as no one had before.

A Satire or Parody: You might even say a "Symphony without Words".

Symphony no.9 Dmitri Shostakovich [1]

First movement: Allegro [2]

0:00:00 A. At the beginning the first Theme in E Major sounds. This first theme opens with the strings and the flute answers. Later on the oboe joins, and at the end, the strings again. It's a game of questioning and answering. It looks like a conversation2 in all aspects. The first theme, A, appears again and soon there follows a new theme in which the fourth interval f-bes, together with the melody of the piccolo, plays an important part. A fourth interval3 in the accompaniment needs a solution. When this doesn't happen after regular use, it will give a certain tension.
Shostakovich used a quarter note as an upbeat (f), a whole note follows (bes), and this note has a slur over about 6 measures. It seems the trombone plays a signal or statement. Above the whole note the piccolo plays a melody. It's in strong contrast to the trombone. Contrasts (extreme low timbre against extreme high timbre) that come back and are very important in the entire symphony.
0:0040 60 The trombone (and trumpet were both used as a festive instrument by the Moor) playing the leading part, makes a long slide and is accompanied by kettledrum and snaredrum. In the meantime the strings are playing pizzicato. It sounds as an announcement after which it's as if the Comedians of a Circus are passing on stage. The rhythm gives an impression of haste. Like somebody with no breath left, which is caused through the quick changing in metre 3/2 and 2/2.This creates different accents.
A. Repeating.
0:02:30 88 B. The strings start with a wild dance. It seems a combination of relief and light-heartedness. The brutal brass makes itself heard through its long slides.
0:02:59 The slides are beginning to sound like a burlesque. And this is the moment where I got the notion Shostakovich had his Operas The Nose (overture) and Lady Macbeth in mind. It looks like he wanted to be heard, for there are some similarities. Later the atmosphere becomes more threatening.
0:03:05 128 The tension grows due to the brass, which is playing an Eastern motif4 combined with a rhythm that reminds us of a gallop (look at Tarantella), through the snaredrum and later on the strings.
0:03:41 167 The music becomes penetrating while the trombone sounds the fourth interval repeatedly.
0:04:00 187 The teasing SOLO violin sounds suddenly like "here am I" and a German band softly playing accompanies this. The fourth interval appears frequently. The next melody played by the violin [16 page 58,59] gives you the feeling that someone is poking fun at you and finally there's the short,
0:04:40 232 Coda; first theme, again the woodwind sounds with a plaintive Eastern motif in the background with the gallop rhythm of the snaredrum. After that the piece finishes resolutely.
Movement: 2 Moderato

0:00:00 The beginning is in b minor. A melancholy sounding melody is played in unison by two clarinets. Different metres such as 2/4 and 3/4 are changing frequently. The low strings accompany this with the Fourth interval leap (fis-b). After that the clarinets sound in two voices which are then taken over by the flute and finally the bassoon sounds. The melody is played softly with oboe and clarinet in parallel quint interval (bourdon). The mysterious Eastern timbre is ensured. The bassoon +flute (sounding very high) accompanied that way with clarinet and oboe (bourdon) intensify this inconsolable quality.
0:02:25 99 At this time the strings step up literally in another key: f minor.
Their melody sounds gloomy with the corni (16 page 63) above.
0:03:10 113 The tension grows by virtue of the slow ascending chromatic melody which is full of dissonance and it comes together with a crescendo.
0:03:38 153 After that the melody descends also chromatically in a decrescendo. The strings end in a Ritenuto.
0:05:02 205 From now on there's a repetition after the foregoing part + a pedal point through the brass, but here the strings are playing the melody and they are supported by a parallel quint of the flutes and corni (6 page 63). This sounds convincingly Eastern. The structure is the same as above.
The use of chromatism is remarkable in combination with dissonances and a sort of Lamento (like a Passacaglia) in all voices.
0:06:39 269 The Coda that fizzles out (morendo) sounds hesitant (vibrato) with dissonances and disappears very softly in the distance.
Movement 3: Presto

0:00:00 The woodwinds come in exuberantly followed by excited violins (in a hasty gallop). It sounds as if they are laughing. And that effect Shostakovich gets by playing a descending second interval in super-fast sixteenth. This chuckling motif returns several times, played by different group of instruments.
On the whole it sounds provocative and teasing, full of unusual accents.
0:00:40 47-48-49 Now you hear the trombone, which is playing quickly and repeatedly on one note that made me think immediately of a part from the two Jews5 of Moussorgsky's Pictures at an Exhibition.
And after that you actually hear a small part of the second movement of Beethoven's Op.135 String Quartet. It's like music that's disappearing in the distance after 47sec. and 2:04 sec.
And Shostakovich does something similar at 54sec! But the rhythm through the whole movement also has a connection with the second movement of Beethoven!
0:01:00 69 When in the following theme, after one minute, the wind section players tumble6 over each other. After that you hear the triumphant trombone above all, which plays its song of freedom.
In the background, the other instruments are moving together in a gallop. This rhythm is derived from an Italian dance, the Tarantella. The strings and snare drum accompany the orchestra and this whips up the rhythm with a sharp tambourine in between. Once again a short repeat.
Finally there are only the strings left, which play a gloomy melody.
Movement 4: Largo

0:00:00 The structure of this movement is: ABAB
A choral7-like intro as in the Catacombs8 from Pictures at an Exhibition. The brass play their parts with solemnity and a sense of melancholy.
One cymbal blow announces a new movement. On a pedal point
with strings and brass, the bassoon sings its litany (perhaps instead of the clarinet, an instrument famous by the Jewish Kletzmer music, but this was certainly too conspicuous). There are no measure marks and that means the bassoon has a certain freedom in rhythm (as an arabesque, perhaps a sort of Makam or Sephardic song). It looks like a cadence and it sounds mournful. There's a significant similarity to String Quartet No 2. in A Op. 689.
Perhaps here we have our tombstone for the victims of many wars, among them the Jews10. For Shostakovich wrote this Symphony directly after war. At the end (morendo) some lightness comes through and it even sounds a bit encouraging, which turns over in the two Bassoons of Fifth movement.
Movement 5: Allegretto

0:00:00 The restrained bassoons11 open very softly, in reaction to the strings, which are changing in a noticeable complaint-like Eastern melody from parallel quint. Variations in 2/4 and 3/4 measures strengthen this. They were used in general by Western composers to suggest an exotic touch.
The woodwinds take over and then Shostakovich moves on with his first lively melody. But soon the melody sounds sad and desperate again through the repetition of the same motifs in the bass.
0:02:05 116 The atmosphere becomes more threatening in the strings and now Shostakovich creates a tremendous tension.
0:02:46 154 From now on the music sounds as if it's a hurricane like Floyd, and will explode. This moves slowly to a climax. The brass sound sinister in the background. The melody grows higher and higher, and the violins are finally violently screaming. The flutes take this over and, together with the heavy brass (pedal), the melody
0:04:40 culminates in an unprecedented peak. It looks like an unavoidable approaching disaster.
At the very last moment, by means of the excessively interrupting trombones (look at Presto measure 47), guided by means of the rhythm of the works of Rossini and J. Strauss12, the tide turns.
At the same moment there comes a 2/4 and 3/4 measure together Bassoon and Cornet. Here we have a so-called Balkan rhythm, measure 248 [13]! After this the trombone plays one penetrating motif again and again, while the flutes - sound like dancing dolls.
This rhythm sounds like a horse in a gallop, which is running to its ultimate freedom. Finally the strings and flutes are happily dancing together and immediately the tension has disappeared, the dance sounds relieved and in a final explosion Dmitri ends on the nearly famous last notes: Bes-C-D-ES13.
Conclusion

1. In his composition, Shostakovich made good use of typical Western modern musical techniques to suggest Eastern music (see footnote 3). Yet it seems to me, this must be seen in a different light than typecasting a country, harem etc, for this was the usual way Western composers worked [14]. It doesn't so much function as a reference to the East as it does an indication to the politic and dramatic events in the whole world at that moment. However, I don't have the impression that Shostakovich wants to refer to this directly but rather to that occurs in the "background" of his life. The use of "modern Western techniques" in his compositions must have been "overlooked" by the Soviet authorities.
Again they accused him of formalism, but had they really realised what Shostakovich suggested? I have my doubts. As a matter of fact Shostakovich ignored the prohibition the Party enforced upon him in every sense.

2. The cheerfulness changes rather quickly in the Allegro and it's due to the emphatic sounding trombones that this movement sounds ironic.
That irony permeates the whole Symphony and drowns the threatening Eastern undertone. Those signs of mockery are suggested by using a certain instrument, as the violin, in combination with rhythm and pitch. And so they imitate laughing and poke fun at the Soviet Authorities (look at Stravinsky's Pulcinella). This partly explains the fun Shostakovich had when he made the Symphony for Pulchinella [10] a symbol for many things. He fooled everyone. The irony must have been a reason for the authorities to accuse S. again. They must have felt the mockery without knowing the reason.

3. a. The references to The Nose by Gogol (Allegro),and Wozzeck by Berg are remarkable.
Shostakovich incorporates a fragment from Lady Macbeth. Track 10 after 4:26 -5:50. Act One, scene Three: kto eto, kto, kto stuchit. The Trombones perform the Act rather comically.
b. Suite The Comedians. The two movements: 2.Galop and 5. Pantomime by Kabalevsky from 1940.
c. It refers to Rothschild's Violin by V. Fleischmann and Shostakovich's Pianotrio.2 in E minor opus 67:finale.
d. The Catacombs and Samuel Goldberg and Schmuyle14 from Pictures at an Exhibition by Moussorgsky.
But also his own second movement in the Second String Quartet, which he wrote for Shebalin and finally the third movement of the Third String Quartet by Tchaikovsky,- which T. wrote in dedication to his dead friend Ferdinand Laub.
e. The rhythm from William Tell by Rossini and also J. Strauss and Kabalevski in the Presto and Allegretto.
f. Pulcinella from the Duet by Stravinsky.
g. String Quartet Op. 135 by Beethoven: second movement.

a. The Nose in the Gogol story refers to authorities, the individual and the mass with a great deal of irony and absurd moments.
Wozzeck is a story by Büchner deciphered by a Galician Jewish novelist. It's a story about repression, persecution, madness and suffering of one person. Berg identified himself with the leading man, as it turned out in the letters he wrote to his wife (The New Grove).
From the Dutch composers series about S. page 60 [4] comes the following excerpt; "The music of the nose was strongly influenced by a great new Opera Wozzeck from Germany, who took Leningrad with a rush by doing of the conductor V. Dranisjikov".
The trombones (and brass) in the Ninth I and V are used in a similar way in the introduction of the Nose and Lady Macbeth by Shostakovich.
Via the Nose Shostakovich has indirectly related to Wozzeck and with that he also shows the circumstances he lived in himself.

b. The first movement sounds like a Parade (Satie comes in mind)) of the Comedians from Kabalevski. The trombone announces instruments like flutes, oboe, violin.
In the second movement of the Moderato the violins are playing (measure 99) heavy and dead slow steps and the way this happens sounds very much like Pantomime of The Comedians from Kabalevski. The third movement of the Presto corresponds with the second movement: Galop of The Comedians by Kabalevski and also, Strauss and Rossini. As a matter of fact I think Shostakovich used this rhythmical motif through its oeuvre as a symbol of freedom (enough examples like the third movement of the Sixth Symphony, third movement of the Ninth String Quartet and so on.). This is very significant in the 15th Symphony, in which you can hear the motif played by trumpets loud and clear. Shostakovich knew, as it turned out through the Wagnerian faith motif, he would die soon, so nothing else mattered.

c. The dancing violin plays an important role in the first movement. It sounds like a mixture of humour with tragedy. Yehudi Menuhin wrote an essay (from next year in Jerusalem) about the reason why in particular Jews often are playing this instrument (16).

d. The Largo is less ear-catching than the third and the fifth movement is probably the most important. Shostakovich jammed this between those notable movements so it wouldn't draw any attention. There are a couple of very important references to find. It's definitely and undeniably a tombstone!

e. The Presto is an open and clear pointer to Rossini. The snaredrum, that can be heard regularly in part I, III and V, plays the striking rhythm of William Tell.

f. The reference to Pulcinella comes from the Comedia Dellarte and has the same meaning as our Dutch Jan Klaassen or Punch and Judy [10]. The last one points also to Pontius and Judas; the Bible.
It's the man with two faces. The clown in Comedia Dellarte.
Pulcinella was also a puppet on a string, who comes alive and is an equivalent to Petrouschka (later you'll find Petrouschka in the second movement of Babi Yar).

4. Dmitri Shostakovich absorbed the musical style of Berg's opera and lavishly used Berg's musical conceptions in the Nose (including Berg's penchant for numerology).
One of those ideas was the use of Interludes; instrumental connections between the different movements. S. used this in the Nose and in the Ninth.
It's slightly peculiar that Shostakovich used only interludes between the three last movements. I think he wanted a unity. I can't understand why he didn't use them in the first two movements. Perhaps they are introductions or perhaps he wants 5 different tableaux? (Berg was very fond of numbers (a Cabalistic interest ?), look at the use of numerology in Wozzeck).
One need not be modern when suggesting is sufficient, Shostakovich must have thought.

5. How right you are this is no coincidence! A summary:

Five Tableaux

Allegro; Announcement, as in a Circus by the Trombone
Moderato: Plodding entrance of the Comedians, Pantomime from Kabalevski. Variation on a theme.
Presto: Tarantella a dance + fragments of the Clown Pulcinella.
Largo: In the Catacombs and a "Jewish" litany (footnote7, 8, 9 and 10).
Allegretto: Galloping to freedom of Rossini (freedom motif). A glimpse of Pulcinella and finishing with the Tarantella. again.

6. Shostakovich points in every way to Western music as he did in other works as well. I doubt Stalin and the Party members realised this entirely. He used all kinds of Modern techniques in such a way that most of us can't even guess. He also used a parody technique that incorporates literature, musicology, psychology, history, etymology, theology etc and I am sure I am forgetting something.
The titles S. used in this Symphony must speak for themselves. Pulcinella, the Comedians etc.
Now Shostakovich's mockeries make sense, at least that's what I think.

Finally
There are still some questions about the Ninth.
I am not a musicologist and I have the feeling there are more references of which I am not aware.
I have tried to find as many as I am capable to do in honour of this composer.
My admiration for Shostakovich has also to do with the fact that he wrote this kind of Symphony in nearly unbearable circumstances. For that reason alone this Symphony needs more attention because Shostakovich has written a unique Satire or Parody.
All compositions and references found in this work, except of course the Rossini and Tarantella motif and Tchaikovsky's Third String Quartet, were found by me.
Volkov's Testimony contains words to that effect: "The lovers of parallels could as they aren't busy, increase their knowledge by study thoroughly my works" and……….. "it will be labour- intensive . But that doesn't matter, let them work a bit" DSCH (page 311 [11]).

Blokker, 22-9-1999. (VN in East-Timor)

References:

1. CD Recording by Haitink, B. (1982) London Philharmonic Orchestra, Shostakovich, Dmitri Ninth Symphony.
2. Taschenpartitur. Schostakowitsch, Dmitri. 9 Symfonie op 70. Musikverlage, Sikorski, H.
3. Maes, F. (1996), Geschiedenis van de Russische muziek. Van Kamarinskaja tot Babi Jar. Sun.
4. Grasman, G. en van Leeuwen, J. (1987), Sjostakovitsj. Componistenreeks. J.H. Gottmer/Becht, H.J.W.
5. Wilson, E. (1994), Shostakovich. A life remembered. Faber and Faber.
6. Calvocoressi, M.D. completed and revised by Abraham, G. (1974), Musorgsky blz 173. blz 173. J.M. Dent&Sons LTD.
7. The New Grove. (1980), Dictionary of Music and Musicians. Tarantella blz 575.
8. The New Grove. Jewish Music.
9. Wagner, R. (1894), translated by William Ashton Ellis. Judaism in Music. Essay: Judaism in Music. University of Nebraska Press Lincoln en London.
10. http://www.zapcom.net/~bcomings/html/punchnames.html
11.Volkov, S. (vertaling 1981) Marja Wiebes en Yolanda Bloemen, Dmitri Sjostakovitsj Getuigenis. De Arbeiderspers.
12.Taruskin, R. (1993), Musorgsky. Eight essays and an epilogue. Princeton University Press.
13. de Leeuw, T. (1977), Muziek van de Twintigste eeuw. Een onderzoek naar haar Elementen en Structuur. Scheltema & Holkema.
14. MacKenzie, J.M. (1995), Orientalism. History, theory and the arts. Chapter 6. Orientalism in Music. Manchester University Press
15. Shostakovich, D. String quartet No.2 in A Major, Op 68. (1994), Dover publications, Inc.
16. Swol van, E. (1997), Dialoog in Muziek: de joodse invloed op de westerse muziekgeschiedenis. Katwijk, Panta Rhei.