Shostakovich: Symphony No. 11, 'The Year 1905' Mikhail Pletnev & Russian National Orchestra

• 1 I. The Palace Square: Adagio 16:46
• 2 II. The Ninth of January: Allegro 18:46
• 3 III. In Memoriam: Adagio 11:35
• 4 IV. The Tocsin: Allegro non troppo 14:57
• Total Runtime 01:02:04

Info for Shostakovich: Symphony No. 11, 'The Year 1905'

Mikhail Pletnev's Shostakovich Symphony No. 11 excels beyond the much-hyped Rostropovich version on LSO Live, which suffers from a deadening slow, heavy tread. Pletnev's urgent pacing brings the piece in at around 62 minutes (10 minutes less than Rostropovich), while his lively phrasing, attention to rhythm, and powerful dynamic contrast makes for compelling listening. Even the long, slow first movement--fatal in the wrong hands--remains interesting due to Pletnev's insistent rhythmic pulse and skillfully maintained tension. This tension gets released in the swirling winds and strings of the second movement, and even more so in the gripping march at the movement's conclusion.

The Russian National Orchestra takes on these passages with discernible enthusiasm, if not always razor-sharp articulation. In the slow movement, Pletnev's refusal to belabor the music has Shostakovich's touching theme emerge as a poignant elegy. In the finale, Pletnev drops the main theme's tempo by half--then launches full-speed into the following allegro, creating a bracing dramatic effect. The percussion section is the star of this movement (and in much else of the symphony), with bells and gongs ringing full-out from the orchestra. The brass is pretty impressive too, though occasionally the players don't project quite as they should. However, this could be due to the circumstances of the live recording. Somewhat bright and dry, it nonetheless reproduces with exceptional clarity on stereo SACD. Berglund's 1980 EMI version remains the standard reference, and there have been a number of fine new recordings of this symphony, but Pletnev's is a good choice for those desiring to hear the Eleventh played by a Russian orchestra, in modern sound. (Victor Carr Jr, ClassicsToday.com)

“With its epic scale and vivid cinematographic imagery, Shostakovich's Eleventh particularly benefits from the extra adrenalin that flows from a live performance. …Mikhail Pletnev and the Russian National Orchestra… pack a mighty punch in the finale, projecting the stream of revolutionary songs that jostle with each other for prominence with unbridled vehemence. The brilliant recording accommodates the seemingly relentless wave of aggression from the orchestra's brass and percussion section with chilling immediacy.” (BBC Music Magazine)

Russian National Orchestra
Mikhail Pletnev, Conductor

Mikhail Pletnev
Pianist, conductor, and composer, Mikhail Pletnev is one of the most respected and influential artists of the era. His prodigious talent as a pianist has earned widespread acclaim ever since the 1978 Tchaikovsky International Piano Competition, where he won First Prize at the age of 21.

An invitation to perform at a 1988 diplomatic summit in Washington led to Pletnev’s friendship with Mikhail Gorbachev and a lifelong commitment to dismantling barriers through the universal language of music.

In 1990, Pletnev formed the Russian National Orchestra – the first independent orchestra in Russia’s history. Under his leadership, the RNO achieved recognition as one of the world’s great orchestras.

Over thirty years later, Pletnev has renewed his commitment to artistic freedom with his founding of the Rachmaninoff International Orchestra, named after the celebrated pianist, conductor, and composer whose own career inspired audiences from all corners of the globe.

Pletnev’s performances and recordings have shown him to be an outstanding interpreter of an extensive repertoire, both as pianist and conductor. His recordings have earned numerous prizes, including a 2005 Grammy Award for his own arrangement of Prokofiev’s Cinderella. He received Grammy nominations for Schumann’s Symphonic Etudes (2004) and the Rachmaninoff and Prokofiev Piano Concertos No. 3 (2003). His critically acclaimed album of Scarlatti’s Sonatas (Virgin/EMI) received a 1996 Gramophone Award, and his recording of the complete Beethoven symphonies and piano concertos (Deutsche Grammophon) was named “Best of 2007” by the New Yorker.

Pianist, conductor, composer and cultural leader – all are significant facets of Mikhail Pletnev’s remarkable life. Yet with his characteristic humility, he insists that he is, simply, a musician.

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