Available on June 25: New double-disc set of Shostakovich’s Symphonies Nos. 1, 14, 15

and the Chamber Symphony in C minor on the Deutsche Grammophon label

[Deutsche Grammophone]



“Great performances from a conductor and orchestra at the top of their game”
Sunday Times (London), review of Shostakovich Symphonies Nos. 5, 8, and 9

Double-disc set of Shostakovich’s Symphonies Nos. 1, 14, 15 and the Chamber Symphony in C minor, to be released on June 25

click here for a preview of one of the album’s tracks

Three Grammy Awards and a mountain of rave reviews stand behind Andris Nelsons’ ongoing cycle of the 15 symphonies of Dmitri Shostakovich. The conductor’s run of visionary interpretations with the Boston Symphony Orchestra, recorded live by Deutsche Grammophon, is set to continue with the release of a double-disc album of the Russian composer’s Symphonies Nos. 1, 14, and 15. The new recording, scheduled for release in physical and digital formats on June 25, 2021, connects with both the swaggering energy of youth and the profound reflections of a composer nearing the end of his life. It also includes a searing account of the tragic Chamber Symphony.

Since the Latvian conductor’s appointment as the orchestra’s Music Director in 2014, Maestro Nelsons and the BSO have continued to develop and share their deepened understanding of Shostakovich’s music. Their recording of the composer’s Tenth Symphony, released the following year, was greeted by Gramophone as “the most electrifying … we’ve had in half a century.” It established a Grammy Award-winning benchmark for the complete cycle. Three subsequent double-disc albums have confirmed the special qualities of Nelsons’ remarkable Shostakovich performances and attracted a new audience to the composer’s symphonies.

The cycle’s latest addition was recorded live during performances given at Boston’s Symphony Hall between November 2018 and January 2020. Latvian soprano Kristine Opolais and Ukrainian bass Alexander Tsymbalyuk joined the BSO and its conductor as soloists in Shostakovich’s Fourteenth Symphony.


“Our latest recording spans a creative lifetime,” comments Andris Nelsons. “Shostakovich was in his teens and making his way as a student at the Leningrad Conservatory when he began sketching the First Symphony. It echoes the spirit of optimism of the new Soviet society. But there’s also a manic tension in the music, perhaps a reflection of the energy-sapping work Shostakovich did to earn money accompanying silent films at the piano.” Almost half a century separates Shostakovich’s First Symphony from his final two essays in the genre. The Fourteenth and Fifteenth Symphonies were written after the suffering and uncertainty of the Stalin years, the brutal war against the Nazis, and decades of dealing with cynical Soviet censorship and dispiriting bureaucracy. Above all they capture Shostakovich’s fear of death and grappling with life’s big questions. “Something universal comes out of his particular experience of anxiety, illness, and loss,” observes Nelsons. “Shostakovich was not an egotist, he wasn’t egocentric. But after Stalin’s death in 1953 his music becomes more about Shostakovich himself.”


By the late 1960s, Shostakovich had survived the official condemnation of his opera Lady Macbeth of the Mtsensk District, Stalin’s purges and Great Terror, the Nazi siege of Leningrad and post-war denunciation by the Soviet régime. He broke with convention to build his Fourteenth Symphony from eleven verse texts by, among others, Lorca, Apollinaire, and Rilke, creating a score that explores death and the complex emotions it triggers. The Fifteenth Symphony, completed in 1971, was written from the perspective of a composer who had already survived a heart attack and was suffering problems related to a form of polio. Like its predecessor, it subverted the traditional form of the symphony to deliver a captivating montage of references to Shostakovich’s earlier works and music by others, including quotes from Rossini’s William Tell Overture, fragments from Wagner’s Ring cycle and Tristan und Isolde, and echoes of a popular nostalgic song by Mikhail Glinka.

Nelsons and the Boston Symphony Orchestra close their recording with the Chamber Symphony. The piece began life in 1960 as the Eighth String Quartet, which Shostakovich dedicated “To the Memory of Victims of Fascism and War.” It was subsequently arranged for chamber orchestra with supreme sensitivity by the violist and conductor Rudolf Barshai, who became close to the composer in his later years and conducted the premiere of his Fourteenth Symphony in 1969.

Live audiences will once again be able to experience the compelling partnership of Andris Nelsons and the BSO when the Tanglewood festival returns this summer (July 9–August 16, 2021). Their run of six appearances includes an all-Beethoven program for the festival’s opening concert, with Emanuel Ax as soloist in the Emperor Concerto; Sibelius’ Violin Concerto with Baiba Skride; and Brahms’ First Piano Concerto with Daniil Trifonov.


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