声道: 双声道(Stereo) 
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The fifteen symphonies of Dmitry Shostakovich presently stand at the very centre
of the orchestral repertoire: together with those of Mahler, they can fairly be said to
represent ‘modern’ music as it appears to the non-specialist concertgoer. Yet unlike any
comparable symphonic cycle since that of Beethoven, these works do not progress in
a way that might have endowed their career-spanning inclusivity with a logical evolution
which carries them from aspiration to fulfilment.
Of the symphonies, the First is a graduation work that quickly accorded the teenage
composer national acclaim and then international prominence. The Second and Third
both represent the reckless accommodation between modernist means and revolutionary
ends, while the Fourth stakes out the boundary between the individual and society
that was to remain a focal point thereafter. The Fifth clarifies that boundary through
paradoxically making it even more equivocal; a process that the Sixth continues by
subverting the ‘private/public’ relationship still further. The Seventh is an unequivocal
reaction to civil conflict and social collapse that finds its conceptual equivalent in the
Eighth, and which in turn finds its opposite in the Ninth. The Tenth effectively marks
the genre’s culmination as the outlet for an abstract programme. The Eleventh initiates a
period in which Russian concerns were to assume dominance, its historical acuity being
diluted by the relative impersonality of the Twelfth and then intensified by the undeniable
explicitness of the Thirteenth. The Fourteenth stands outside the symphonic genre as
regards its form though emphatically not in terms of content, while the Fifteenth marks
a belated re-engagement with an abstract approach to symphonic thinking such as might
or might not have been continued.
01 - Symphony No. 7 in C Major, Op. 60 'Leningrad' I. Allegretto                 
02 - Symphony No. 7 in C Major, Op. 60 'Leningrad' II. Moderato (Poco allegretto)
03 - Symphony No. 7 in C Major, Op. 60 'Leningrad' III. Adagio –                 
04 - Symphony No. 7 in C Major, Op. 60 'Leningrad' IV. Allegro non troppo        


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