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Sym/Tahiti Trot/Jazz Suite/Wal


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Product Details

  • Audio CD (June 1 2010)
  • Number of Discs: 1
  • Label: Angel Records
  • ASIN: B000002RW1
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: #296,385 in Music (See Top 100 in Music)

1. Tha Palace Square (Adagio)
2. The 9th January (Allegro)
3. In Memorium (Adagio)
4. The Toscin (Allegro non troppo)
5. I. Waltz
6. II. Polka
7. III. Foxtrot
8. VI. Waltz 2 from Jazz Suite No. 2
9. Tahiti Trot (Tea for Two) Op. 16

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Most helpful customer reviews

By T. McKay on June 20 2000
Format: Audio CD
Unbelievable! This recording gave me goose bumps during the entire hour of the 11th symphony. The Philadelphia Orchestra is at its best! Jansons and the orchestra truly make the listener re-live the experience of that cold morning of January 9th, 1905. How Dramatic! Words cannot describe...buy this, now! Stop reading this review and buy it! Five stars is an understatement!
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 6 reviews
9 of 10 people found the following review helpful
Electrifying Feb. 4 2007
By A. Yen - Published on Amazon.com
Format: Audio CD
Forget Superman at Six Flags. Get your thrills and chills with Shostakovich, Jansons, and the Philadelphia Orchestra today!

My general problem with most recordings of the 11th Symphony fall into two categories: sound quality and tempo. I feel extremely short-changed if people rush through this work, especially at the most transcendental moments such as the cor anglais solo in the last movement. Shostakovich? Transcendental? Well, maybe not in the spiritual sense, but the despairing wail of the solo cor anglais rises far above the melee and mayhem of the previous 55 minutes or so--utterly heartbreaking on this recording. The other issue is mostly a problem with the LSO Live engineers, who I think don't quite understand how an orchestra should sound.

Jansons has no such problems with either, although my last pet peeve, the short last note and quiet chimes, does happen in this recording, but the whole rest of it makes up for those, I think.

Not just "merely adequate," Jansons goes far above these bare minimum requirements. The brass are terrifying, the strings electric, and the solo cor anglais, as mentioned above, will make you weep, if you're in the right (wrong?) mood. The percussion have good presence most of the time, excepting the last moments in the chimes.

The biggest shock in this recording came when Jansons nearly doubles the tempo at the percussion solo in the 9 Jan. movement. This actually sounded pretty fair to me after my initial shock: sounded like real gunfire, almost. Whatever the case, I don't mind it at all.
5 of 6 people found the following review helpful
Masterpiece Recording! Nov. 22 2005
By Frederico G. - Published on Amazon.com
Format: Audio CD
Mariss Jansons takes the listener back in time to that bloody Sunday in 1905 in St. Petersburg!

The contrasting moods between movements and the energy are vividly present in this recording.

A reference recording for anyone wanting to get to know this amazing work. I highly recomend it.

I have listened to many recordings of the 11th, but none come anywhere close to this one! Truly a masterpiece CD!
1 of 1 people found the following review helpful
Great, and NOT JUST for the symphony Sept. 25 2006
By S. J. Snyder - Published on Amazon.com
Format: Audio CD
I'm not going to try to add anything to the other reviewers on that score.

But the "filler" is also very good. If you're not familiar with this more playful side of Shostakovich, hear him kick up his heels in the Jazz Suite No. 1. Then hear a haunting waltz from Jazz Suite No. 2, something that sounds like it would have played well just before "the lights went out" in August 1914.
1 of 1 people found the following review helpful
*** 1/2 Jansons only fitfully gets the Shostakovich Eleventh to achieve liftoff, but the fillers are done with panache Feb. 7 2014
By Santa Fe Listener - Published on Amazon.com
Format: Audio CD
Despite the enthusiastic reviews here at Amazon, the Shostakovich Eleventh was only an average installment in Jansons' long protracted symphony cycle. EMI hasn't even kept in print a set that promised to be a successor to Haitink's acclaimed Decca cycle with the Concertgebouw and London Phil. in the Eighties. Yet nothing was much improved upon. I know both cycles fairly well, and Jansons hits no definite home runs. Despite his musical pedigree -- both Mariss and his father Arvid were associated with Mravinsky and the Leningrad Phil.--he tends to be more cautious and even faceless compared to Haitink, who is no firebrand.

This Eleventh fails to tell a story, even though that's what the score is about. the opening movement paints the dawn scene before the Winter Palace without mystery or anticipation of the calamity to come. I cant' argue with admirers who point to the fine execution by the Philadelphians and the excellent balances, the disciplined ensemble, and the good engineering here. But Shostakovich in his mode of extolling the Soviet past needs fire and inspiration to overcome various weaknesses. The music often sprawls, relies on banal themes, dips into sentimentality and bombast, and indulges in triumphalism that seems politically motivated. Whatever your position on these issues, Shostakovich is an enigma looking for someone to unlock it. As steady and purposeful as Jansons is, I don't think he holds that key.

but the Eleventh is a straightforward populist score, and even a moderate like Jansons whips up excitement in the second movement battle, aided by a virtuoso orchestra. the previous reviews mine a vein of jejune rah-rah, but in some ways the score deserves it. Even where the composer gives us a mournful Adagio in memory of the fallen, this most depressive chronicler of twentieth-century horrors doesn't reach very deep, and Jansons isn't one to find hidden emotional depth. The finale, titled Tocsin - the alarm bell signalling the future rise of the workers - is done with too much control in place of effective semi-hysteria.

the fillers come from Shostakovich in pops mode, which tends to sound cumbersome to me. But Jansons rises to the occasion with wit and panache. We get four excerpts from the two Jazz Suites and the Tahiti Trot, all reminiscent of a palm-lined hotel courtyard more than a jazz dive. The standard recommendation for this music seems to be Chailly on Decca, but Jansons has more swing, such as it is.
6 of 9 people found the following review helpful
AMAZING Sept. 3 2004
By R. Unser - Published on Amazon.com
Format: Audio CD
Simply put, this is the best recording of this work I have ever heard. Without being shackled by Wolfgang, the Philadelphia Orchestra sounds just tremendous! The brass are simply incredible and the strings are lush and moving. I second the other guy... stop reading and buy this recording now. This equals the CSO/Bernstein recording of Shostakovich's 7th symphony!


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