Sonata for Cello and Piano in D minor, opus 40 Sonata for Violin and Piano, opus 134 Piano Trio in E minor, opus 67.ĭmitri Shostakovich (piano), Daniil Shafran (cello) David Oistrakh (violin) Milos Sadlo (cello). Shostakovich, from 12 Portraits for Organ, Desarbre, Korzoune Schnittke: Concerto for Piano & Strings, Orbelian, Moscow CO Young Lady and the Hooligan, Gorenstein, Symphonic Orchestra of Russia Light music from stage & screen, Gorenstein, SO of Russia / Katz, Novosibirsk PO, et al. Light music from stage & screen, Orbelian, Moscow CO The Gamblers, Sans opus K, Chistiakov, Bolshoi Theatre Orchestra, Kurpe, Rechetniak, Arkhipov, Krutikov, Pochapski, Gluboky Eisenmann bass & organ, Naoumenko, Desarbre Violin Sonata, opus 134, Shostakovich, Oistrakh 2, opus 129, Mackerras, Prague RSO, Tomásek Seven Songs on Blok Poems, opus 127, Moscow Trio, Gerassimova The Execution of Stepan Razin, opus 119, Jurowski, Kölner Rundfunk SO, Kölner Rundfunkchor, Ritter, Sulejmanow 12, The Year 1917, opus 112, Mravinsky, Leningrad PO 7, opus 108, Taneyev QuartetĬhamber Symphony, Op 110a, Orbelian, Moscow CO 10, opus 93, Mravinsky, Leningrad POįestive Overture, opus 96, Litton, Dallas SO 2, opus 67, Shostakovich, Oistrakh, Sadlo 7, Leningrad, opus 60, Masur, New York PO Piano Quintet, opus 57, Talich Quartet, Langer 4, opus 43, Rozhdestvensky, USSR Ministry of Culture SO Limpid Stream, opus 39, two pieces for organ, DesarbreĬello Sonata, opus 40, Shostakovich, Shafran Passacaglia from Lady Macbeth of Mtsensk, opus 29, for organ, Desarbre Intermezzos from Lady Macbeth of Mtsensk, opus 29, Jurowski, Kölner Rundfunk SO The Bolt, opus 27, two pieces for organ, Desarbre The Bolt, opus 27, suite, Rozhdestvensky, Czech PO Two Scarlatti Pieces, opus 17, Rozhdestvensky, USSR SSO winds The sensational succes of the performances by the specialzed ensemble conducted by Dutch composer Daniel de Lange was in part due to pride of national achievement from the past, but mostly to the international acknowledgement that Dutch composers of the past had indeed made an important contribution to European music history.Two Fables after Krylov, opus 4, Jurowski, Kölner Rundfunk SO, Kölner Rundfunkchor, Froschauer, Sinjawskaja The persistence of nationalist interests in the development of Dutch music historiography in the nineteenth century also spilled over into the reception of the first performances of music from the alleged 'Netherlanders' schools. The same can be said about the Dutch publications that followed in their wake, such as the 1841 biography of Lassus by the amateur music historian Florentius Kist. The winning entries by Kieswetter and Fétis are characterized by both serious scholarly endeavour as well as a good antenna for the. Simultaneously, Shostakovich was now perceived as quite akin to Mahler, whose reputation in the Netherlands always had been particularly strong.Ī contest for the best essay on the merits of Dutch composers who had emigrated to Italy in the 14th, 15th, and 16th centuries, issued by the Dutch Royal Institute in 1824, constituted the starting point for Dutch music historiography in the nineteenth century. Instead, Shostakovich was incorporated into a national discourse of anti-authorianism. However, it had little to do with the workings of the Cold War or anti-communism. Because of the constant negative reporting about Shostakovich's music, the impact of Testimony in the Netherlands was much more substantial. After the war, under the influence of a strong ideological stance concerning the desired nature of contemporary music, the composer's reputation took a nosedive, whereas appreciation of his music was on the rise in neighbouring countries. It shows that initially Dutch response was overwhelmingly positive, much more than abroad, because Shostakovich was perceived as a composer who successfully steered a middle course between tradition and innovation. This essay analyses the Dutch reception of Shostakovich in relation to the international reaction to this composer and his music.
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