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Keeping Score: Symphony No 5 [Blu-ray]

形式: Blu-ray

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"もう一度試してください。"

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ジャンル	Music Video & Concerts, Musicals & Performing Arts/Classical
フォーマット	クラシック
コントリビュータ	Thomas, San Francisco Symphony
言語	英語
ディスク枚数	1

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アスペクト比 ‏ : ‎ 1.77:1
言語 ‏ : ‎ 英語
製品サイズ ‏ : ‎ 16.97 x 13.51 x 1.19 cm; 81.65 g
EAN ‏ : ‎ 0821936002797
商品モデル番号 ‏ : ‎ 6640025
メディア形式 ‏ : ‎ クラシック
発売日 ‏ : ‎ 2018/9/11
出演 ‏ : ‎ San Francisco Symphony, Thomas
販売元 ‏ : ‎ 株式会社ソニー・ミュージックエンタテインメント
ASIN ‏ : ‎ B002SKF7HQ
ディスク枚数 ‏ : ‎ 1

Amazon 売れ筋ランキング: - 156,110位DVD (DVDの売れ筋ランキングを見る)
- - 529位交響曲・管弦楽曲DVD
- - 5,826位ブルーレイミュージック

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daimon

exemplarische Dokumentation und faszinierende Aufnahme - uneingeschränkte Empfehlung

2023年10月3日にドイツでレビュー済み

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hatte schon die CD (neben 5 weiteren Aufnahmen des Werks + der DVD mit M Schostakowitsch am Pult), der Kauf der BD war eher aus Neugierde, zumal ich den 5.1 Sound geniessen wollte. Ein unvergleichliches Hörerlebnis mit teilweise Gänsehaut-Feeling im langsamen (3.) Satz. Man kann es nicht beschreiben, man muss es hören. Wie sagt MTT in der Dokumentation so richtig: Die Musik spricht jeden Hörer anders an. Der Sound ist raumfüllend, das Orchester gut gestaffelt und löst sich schön von den Boxen. Die Dokumentation (Werkeinführung) sucht seinesgleichen und lässt das Gehörte evtl. in einem anderen Licht sehen, mit dem man so nicht gerechnet hat. Auf jeden Fall erleichtert es enorm den Zugang zum Verständnis des Werks und hat daher einen hohen didaktischen Wert, unterstützt auch die die diversen Erklärungen der Klangbeispiele. Das Projekt "Keeping Score" ist daher nicht hoch genug zu bewerten. Man würde sich wünschen, die meisten Klassik-Aufnahmen wären so konzipiert. Die Scheibe sollte in keiner privaten Klassik-Diskographie fehlen, zumal das Werk zu den großen sinfonischen Orchesterwerken des 20. Jahrhunderts in traditioneller Struktur gehört (Mathis der Maler/Hindemith und Konzert für Orchester/Bartok zähle ich ebenfalls dazu).

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Hoi Cheu

Five Stars

2015年1月21日にカナダでレビュー済み

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Great production: informative, clear, and interesting

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Jeff Wolf

The determination to be

2014年10月24日にアメリカ合衆国でレビュー済み

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Toward the end of the 55-minute documentary/lecture surveying the historical framework in which Shostakovich composed his Fifth Symphony in 1937, conductor Michael Tilson Thomas says, "The music's purpose is to reach you. Inevitably, it will mean different things to different people. But we all know that Shostakovich is saying something urgent, serious and profoundly felt. What's left with you when the last note is played?"

In the superb 2007 Proms concert performance that ensues, in highest quality Blu-ray video and audio, Tilson Thomas follows the Sikorsky score, in which the disputed tempo of the finale's coda (at rehearsal No. 131) is marked at the slower eighth note = 188 instead of the improbable quarter note = 188 of the old Kalmus score Bernstein used in his celebrated 1959 recording. For me, in answer to Tilson Thomas' question, watching this Blu-ray bring to mind novelist William Faulkner's 1950 Nobel Prize acceptance speech, which -- after recounting the existential fears of the 20th century -- concludes:

"I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last dingdong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking.

"I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet's, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail."

Fueled by the publication of Solomon Volkov's "Testimony" in 1979 and by such divergent tempo indications for the ending of the Fifth Symphony in its two editions, controversy has raged for decades about its meaning. One camp sees the 1937 composition as caving in to the Soviet authorities who had excoriated Shostakovich for departing from acceptable guidelines in his highly successful opera Lady Macbeth of the Mtsensk District, providing in this symphony an "optimistic," glorified conclusion incorporating the proper rules of Soviet Realism. Is it, in the phrase not coined by Shostakovich but often attributed to him, "a Soviet artist's reply to just criticism"?

Or does the symphony instead, as Mstislav Rostropovich and others insist, speak out as a voice of dissidence against the Stalin regime, sounding out a hollow triumph behind a mask of irony to mock oppressive officialdom, declaring the composer's identification with the suffering multitudes who are beaten into the "business" of rejoicing by their masters?

This either/or debate is artificial and arbitrary. It ignores a third option in which the symphony is more of a personal matter than an address -- either pro or con -- to and about the Soviet state or the Russian people. Must a 21st-century audience know the ins and outs of the political situation in 1805 Vienna to appreciate Beethoven Third Symphony? In "The Rest Is Noise," Alex Ross says Shostakovich's son Maxim described the Fifth as his father's "Eroica," that its "message" is the hero's saying, "I will follow the way I choose" -- that it depicts "the determination of a strong man to BE." In other words, Shostakovich's simple statement at the time offers the straightforward truth: "The theme of my symphony is the making of a man. I saw man with all his experiences at the center of the composition." Over the decades, Shostakovich's use of irony -- if not outright lies -- in public statements has caused many people to dismiss any comments he made about his music as suspect. But as Svetlana Savenko explains in her analysis of "Shostakovich's Literary Style," translated by Laurel Fay in "Shostakovich in Context," edited by Rosamund Bartlett (2000), it's not so difficult to sort out the attempts at obfuscation from fact. And she points out that in communicating with friends and confidants, Shostakovich was surprisingly simple and direct.

Thus, in the tumultuous conclusion to the Fifth, Shostakovich himself stands firm with his integrity intact. The forces aligned against him don't go away, but he prevails despite their onslaught. Bypassing the official injunctions against "formalism" -- that is, anything that smacks of individuality and the expression of tragic emotions -- the Fifth Symphony rises as a personal triumph for the artist over barbarism, over whatever forces would belittle the dignity and sanctity of existence, not just at one particular place and time, but anywhere, in any era. It seems that in doing so, he struck a chord with a wide audience of Russian people who could relate their lives to what he was saying about his own.

This performance, then, by Tilson Thomas and the San Francisco Symphony presents not a dusty museum artifact, applicable only for Stalin's Soviet Union of 1937, but a timeless creation that remains alive as an exemplar to demonstrate, as Faulkner believed, that humanity can and will prevail, under any circumstances.

3人のお客様がこれが役に立ったと考えています

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I. Giles

Tilson Thomas provides a radically different interpretation to that of his mentor, Bernstein

2013年5月25日に英国でレビュー済み

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This concert recording was spectacularly played and recorded at the 2007 London proms concerts when the orchestra was on tour. The documentary concentrates on the events up to the writing of this symphony and then continues with events in Russia under Stalin thereafter.

The documentary makes extensive use of video film material from that period of Russian history plus film of Shostakovich. There is also modern footage of places and examples of importance and relevance. Musical extracts are taken to make points throughout and these are inter-cut with observations and reminiscences by Russian members of the orchestra as well as extracts from an 'educational' event for the audience based on the symphony.

Tilson Thomas takes us on an illustrated tour of the symphony explaining how it unfolds and relating it to the times it was written in. It becomes quite clear that the Bernstein approach, and Previn's, of a bombastic and joyous ending at speed is not appropriate. Instead we get quite a different ending where Shostakovich's implications of an alternative meaning as can be deduced from his 'Testament' publication years later. Tilson Thomas brings us the alternative meaning behind the notes that we can now expect. This is an approach that can be heard worldwide including in Russia. This is an excellent documentary.

The performance can simply be described as one of the most exciting and also one of the most moving that I have ever heard. Tilson Thomas is a very emotional type of conductor who can wring every last drop of feeling out of the music and out of his orchestra. In this case, and in addition, there are many of his colleagues who identify directly with the circumstances surrounding this composition. Their commitment and that of the whole orchestra is quite uncanny and is a powerful document.

The recording of the concert by the BBC is of excellent definition in every respect and the large audience, many of whom stand for the whole duration, are remarkably attentive and non-invasive of our concentration and enjoyment. The sound, as always defaults to DTS with a stereo option.

I would suggest that this is a very special disc and well worth purchasing while it remains available. The performance will stand comparison with the best otherwise available on CD or Blu-ray/DVD and the recording quality is in general terms, better than most. This series as proving to be a major musical statement.

Finally, this Blu-ray disc is clearly marked as 'Region 1' but nevertheless plays perfectly on my region 'B' Blu-ray player so presumably this is actually a region-free disc in reality. The labelling is therefore not the most encouraging and the use of a number code rather than letters is unusual.

2人のお客様がこれが役に立ったと考えています

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Juan López

Muy didáctico

2013年5月4日にスペインでレビュー済み

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La parte divulgativa está muy bien documentada y explicada, tanto lo histórico como lo estrictamente musical.
La interpretación de la Sinfonía es buena y en directo en los BBC Proms

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Keeping Score: Symphony No 5 [Blu-ray]

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