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Symphony No. 11 the Year 1905

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Product Description

Charismatic young conductor Vasily Petrenko launches his Shostakovich Symphonies series with the Eleventh, a highly charged depiction of the 'Bloody Sunday' massacre of over two hundred peaceful demonstrators by Czarist soldiers outside the Winter Palace

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Most Helpful Customer Reviews on (beta) 10 reviews
22 of 24 people found the following review helpful
Vasily Petrenko, RLPO, Shostakovich Sym 11: Year of 1905: Incisive, Gripping, Cinematic Music April 2 2009
By drdanfee - Published on
Format: Audio CD Verified Purchase
I've already enjoyed Petrenko leading the RLPO (Royal Liverpool Philharmonic Orchestra) in Tchaikovsky's huge symphony-tone poem, Manfred. I also noted that not everybody got as much out of hearing that disc as I did, with some distinctively negative review notes sounded in passing. I also enjoyed the way that Petrenko worked with pianist Eldar Nebolsin on their Liszt concertos disc, though yet again some reviewers found either the players (or Liszt's music) wanting.

So here we go again. Bottom line is, I think this disc is possibly the very best of the three discs from Naxos. I like the other two just fine, for slightly different reasons; but this Shostakovich Eleventh Symphony brings it all together, reaching new sonic and musical heights. I also think this particular reading can stand comparison with the best of the available catalog and come off very high, if not in some minds and hearts and ears, the highest so far. I cannot quite recall a similarly auspicious young conductor debut in Shostakovich, since the unhappily aborted Phllips Universal label debut of the young Semyon Bychkov.

Maybe we can attribute some of this success to the conductor settling in, quite nicely as a significant musical team, with the band? Petrenko has been working with RLPO, since at least 2006. From all indications on this new disc, the conductor and the band are hand in glove, at least from the sound of it. Add in the composer's high stakes in this musical proceeding; and we get one of those Russian Troika configurations, wild, powerful, pulling us fiercely across the shining snow and ice of hard winter.

In Shostakovich' opus, this symphony is all about hard Russian winter. Or, to be more historically accurate, a famous massacre of the protesting low income and starving citizenry that took place outside the Czar's winter palace, in hard winter. (Nicholas II) The palace guards fired into a crowd who were gathered peacefully; killing in all somewhere over two hundred people. Thus, the composer's fiftieth birthday roughly coincided with national commemorations of the Julian calendar's January 9th, 1905. The existing Soviet state apparatus was also partly rehabilitating the composer politically - yet again - as a duly noted Russian Revolution Artist. So, for various contemporary reasons everybody yet again had a lot riding on what Shostakovich might or might not manage in his newest symphony.

Happily, to my ears, Petrenko and the RLPO get it all pretty much right in this reading.

The opening is a remarkable success. Petrenko and the RLPO Players combine an introductory, scene-setting cinematic narrative flow with a musically canny and flexible unfolding of the harmonic tensions implicit, predictive in those long opening melodies. Such an opening is as much as many good readings of this symphony can manage to offer us. Petrenko and the RLPO players, however, go even further. The grim, relentless tread of the rhythmic motive underpins and portends the gathering sounds of an impending tragedy without falling apart, too much or too little. Given what the composer does in the low end of the orchestra, the challenges of pacing, integrating, combining all the right touches with an unimpeded narrative or musical flow is at least as difficult as Sibelius' later symphonies from the fourth onwards. A very good performance can get away with managing one or two of these musical dimensions, enough to make considerable musical points, leaving us fairly happy we listened.

A great reading brings it all together, and the whole music just snaps vividly, fiercely into sharp focus. Folk songs, cinema, history, music - bringing us powerfully back to ourselves as humanity.

The second movement which spells out the deadly events, is also effectively paced and shaped. Here the difficult balance to be struck among the rhythmic motif, the cinematic narratives, and the ambivalently coded pure music of western symphonic music in the twentieth century is ringing, clear as a bell. The Allegro assault gathers in a dramatic or brilliant repeat of Prokofiev's Alexander Nevsky Battle On The Ice; then sounds touches of lament as all fades into the melancholy yet knowing evocations of the third movement.

In that third movement, Shostakovich apparently wanted to connote not just memory, but eternal memory. One may either read that eternity bit as a piece of required Soviet revolutionary hype; the progress of the revolution was after all State Hyperbole - supposed to be the raising of all humanity - from domination to freedom, to progress, and to well-met feeling among all global brothers and sisters.

Or, one may recall the many-sided codes and contexts which make Shostakovich a sort of uniquely modern master, as if his pure music were more indebted to Artificial Musical Intelligence (better than our worst political selves?) than we ordinarily comprehend. Again, the problems of pacing this movement's music are akin to dilemmas about how to do Sibelius' fourth or later symphonies. Again, I hear Petrenko and RLPO getting it just about as right as anybody else on disc so far. Certainly, surpassing other big name conductors whose eleventh symphonies have left me partly impressed, partly disappointed. (Rostropovich, Pletnev, Haitink, Jansons, Ashkenazy, even the marvelous Oleg Caetani). Certainly, right up there with my personal fav shelf bench marks (Mravinsky, Ormandy, Cluytens, Stokowski, Barshai, Bychkov with Berlin).

The concluding fourth movement is all motion, vigor, and circular music on point cycling and re-cycling. Who is chasing whom? Who is mindlessly repeating what tragedy, what injustice? To my hearing, Petrenko manages to deepen the required surface gloss of Soviet revolutionary martial triumph with that coded emptiness of gesture and purposeless that tells us the revolution was not a rise, not the Great Leap forward it proclaimed itself so loudly to be. I also think I hear very nice passing touches of the great mass of ordinary citizens, just going about their daily business, anyway. Allusions to western polyphony, canon, waltz - a bigger and deeper human heritage that even the iron fists of dictatorship or global business cannot quite take away from us. I also hear touches of constantly passing risk and danger; as if Eisenhower were still with us, say, warning about the dangers of the military-industrial complex in western democracies.

Are those final massed alarms, a warning from the state and the secret service police to the cowering populace? Or, a coded warning to all the big bosses, from all those so long abused, murdered, and repressed, living or dead?

The last slow coda returns us to the Eternal Memory movement. Tender is the Great Vision of Peace, Equality. Unfinished, unrealized is the Wondrous Vision of a generous and capable humanity, all engaged productively, all living fulfilled in some real peace. Is this last business of the music, the sawmill buzz of bottomless greed? Bottomless domination? Or, the near-mystical Last Apocalypse of some impossible yet Just, irrevocable consequence finally crashing in? No doubt the party bosses at the world premiere heard it one way. How will we hear it?

A listener is left thinking - as in the best of the Yevgeny Mravinsky readings with Leningrad - just how marvelous, intelligent, and deeply human Shostakovich was as a world artist, not just as a famous Russian artist. This is the difference, say, between a reading of Tchaikovsky's sixth symphony that is replete with sad, compelling personal anguish or secret sexual-romantic tragedy; and a musical reading that reaches even deeper, into what Germans might call, Zeitgeist, Weltschmerz.

Very highly recommended. If the remainder of this proposed complete symphony cycle can keep up the commitment and the musical quality of this disc; we are in for one of the really great Shostakovich symphony sets so far captured in the catalog. Unfairly, this start raises the stakes very high, indeed. Yes, in some idealized vision I still wish we could have had a complete set from Mravinsky and Leningrad in very good stereo PCM sound, if not in super audio surround sound. But, lacking that wish, this is a serious start on reaching high in the complete symphonies. (Ah, Naxos: Super audio? Sometime?)
6 of 6 people found the following review helpful
Petrenko's impressive Shostakovich calling card May 10 2013
By I. Giles - Published on
Format: Audio CD
This very well recorded and dynamically wide-ranging disc from 2008 was Petrenko's Shostakovich calling card. It declared a number of things. Firstly it clearly declared that Liverpool had a new young conductor who had plenty to say about Shostakovich. Secondly it declared that an inspired Liverpool orchestra had the potential to take on the big name players. Thirdly it declared that Naxos were determined to give a no-holds-barred dynamic level to this series that would do Shostakovich justice and perhaps require understanding or absent neighbours to those who wished to play the disc at anything like a realistic volume level.

All of these things were exciting declarations and printed critical opinion from musical journals and newspapers were quick to lavish praise on the venture.

Several years later the series has developed and is now a major reference point for those interested in this composer. Petrenko is no shrinking violet and he has succeeded in creating a Russian drive and sound from his Liverpudlian orchestra that has remained constant throughout the series. Generally this is achieved by tempi that keep on the move, but not always. This symphony certainly has long passages of desolation that demand, and get, desolate playing where time seems to stand still. The symphony is very pictorial in its political message and Petrenko makes sure that the imaging is put over dramatically and strongly.

This performance is far more impactive than either Rostropovich or Haitink for example who fail to dig deep enough into the Russian psyche. Some of the best Russian recordings are unfortunately not of the highest 'fi' and that matters in such a large scale work as this. Years ago Stokowski recorded a very fine performance on Capitol which delivered musically, emotionally and also sonically. In reality though, it is unlikely, however, that it would now seem superior to this far newer disc.

In conclusion therefore, I would suggest that this disc now deserves to be the starting point for anyone interested in adding this symphony to their collection.
6 of 7 people found the following review helpful
Powerful Shostakovich from England Nov. 2 2010
By Spartro1 - Published on
Format: Audio CD
Dmitri Shostakovich has long been one of my favorite composers, and his 4th-11th symphonies are some of my favorite works from the 20th century. The 11th, however, for me is right behind the 5th in terms of excellence. This is music of power yet gloom. The uneasy sounding first movement always sends a chill down my spine. I can very easily picture a cold Russian Dawn, with silent rifle barrels ready to fire if necessary. Even though Shostakovich attached a program to this work, I certainly feel like it could be "absolute" music. The last movement is absolutely terrifying, with its loud percussion and screaming brass. Maestro Petrenko coaxes some magnificent playing out of his orchestra, certainly on the level of the other mainstream British ensembles (London Symphony, Philharmonia) and probably some of the continental orchestras. I never felt for a moment that his music was banal, and Petrenko certainly got a lot of conviction from himself and his orchestra. Naxos's recorded sound is also very good, if not excellent. For those looking for a Shosty 11 on a budget, this is the disc.

Bravi tutti!
3 of 4 people found the following review helpful
A charismatic young Russian approaches the Eleventh with dignity and seriousness May 28 2011
By Santa Fe Listener - Published on
Format: Audio CD
When it first appeared, this recording woke the world up to the gifts of Vasily Petrenko, now 34, a boyish Russian who has by now put the Royal Liverpool PO on the map. Now the Oslo Phil. has signed him up as music director, and everyone expects that one of the major orchestras will come calling sooner rather than later. In every respect Petrenko displays his charisma in this, the opening salvo of a complete Shostakovich symphony cycle, but more importantly he redeems some mighty claptrap in the process.

To me, the Shostakovich 11th, premiered in 1957, is a suspiciously mawkish tribute to the innocent citizens mowed down by the Czar's Cossacks in the bitter cold of January, 1905. The music is programmatic and as easy to follow as a Hollywood soundtrack -- we witness historical tableuax from the first public gathering at dawn in Palace Square, St. Petersburg to the massacre, a period of mourning, and then the wild ringing of the tocsin that sounds the promise of a victorious future, i.e., the October Revolution of 1917. It's always uncomfortable when Shostakovich does his duty as a loyal Soviet artist-- a "people's composer" -- and it helps only somewhat that he later told interviewers that this work, although supposedly a paean to revolutionary glory, was actually a covert criticism of Moscow's brutal suppression of the Hungarian uprising of 1956.

However it's sliced, the Shostakovich 11th is problematic musically, needing a great deal of help to get beyond its rum-tum depiction of patriotic blood and tears. Petrenko succeeds through a combination of incisiveness and serious intent. He doesn't cheapen the movie music, and he looks past the propaganda value of the score to the human sacrifice that lies beyond, for both the victims of 1905 and the composer. I've noticed that post-Soviet Russian conductors like Gergiev seem eager to minimize the very qualities that saved Shostakovich's skin repeatedly -- the easy-listen tunes, the visceral bombast, the patriotic rhetoric. Petrenko falls into this trend, and I'm happy to say that on that account this is one of the least sleazy Shostakovich Elevenths I've ever heard; I believe in the conductor's attempt to find nobility in the music. I wouldn't rank it above Gergiev's recent account -- the two reach the same high standard, with Petrenko scoring on thrills at the close.
Petrenko Does it Again! April 7 2014
By NUC MED TECH - Published on
Format: Audio CD
07-22-2014 Vasily Petrenko's Shostakovich cycle now arrives at the Symphony 11 in g minor, the "Year 1905." Recorded in late April 2008 he once again heads the Royal Liverpool Philharmonic a reading that lasts for 57:38, which is certainly within accepted time for this riveting work. With much of the 1st movement used so fittingly in the PBS series from long ago, Cosmos, the atmospheric mood of the opening Palace Square;Adagio attacca is, at 13:46 in length, a gripping, suspenseful scene of the pre-dawn assemblage of factory workers and their families who marched to the square in front of the Winter Palace of Czar Nicholas II. They were there to petition their "little father" for a loosening of the onerous burdens, in terms of taxation and restrictions of personal freedoms, they had been suffering under for years. The Czar was not at home, but his troops, the Palace Guard was, and they fired into the crowd, amidst the confusion of that morning, creating what became known as "Bloody Sunday." This single event helped trigger the first Russian Revolution, in 1905, and led directly to the main revolution 12 years later in 1917. About 6 months later, the naval crew aboard the pre-dreadnought battleship "Potemkin," rebelled against their oppressive officers, also aiding the run up to the 05 Revolution and also leading to the major events of 1917.
But, this Symphony concerns itself chiefly with the events of that fateful day in January 1905 when the civilians in the palace square were murdered by the czar's soldiers. The eerie and dark mood created by the composer is well defined by Petrenko, and his RLPO charges pour out the the several comments made by the trumpets against the background of those spooky and ominous strings. As in the other installments of this fine ongoing cycle, both orchestra and maestro work together quite well, and for such a young man, this St. Petersburg born and educated conductor demonstrates a maturity beyond his years.
The wide dynamic range of this Naxos recording is often excessive and I don't know if it is the engineering or the conductor who is responsible, but there are numerous points that one strains to hear the players. I am inclined to think it is the maestro because this huge gap between forte and piano can be found in several other Symphonies in this cycle as it nears it's completion. the dramatic effect is intended to heighten the overall tenor of the music and that it does. For a young conductor, Petrenko is quite the accomplished podium leader and I buy these Symphonies as they emerge on this site without hesitation. I predict that, when finished, this Naxos effort will be collectively praised as one of the best Shostakovich cycles available now, or in the past. I can't wait to discover his next project, perhaps a run of Beethoven, or Dvorak to display what I am sure is his diverse skill and interests.
The 2nd movement is titled "The Ninth of January" and has a layout of "Allegro-Adagio-Allegro--Allegro attacca". It is the longest of the 4 movements, running 18;18 and contains that same exceedingly large dynamic range found in the 1st movement, but here it seems to work better, as the tempi are also fluctuating. From about the 12:22 to 16:06 area point, the composer presents his large development section with the snare drum signifying the palace guard, as they ready themselves for the confrontation with the crowd of petitioners, and soon the guns open up as the music is now filled with terror, action and chaos. One can easily imagine the scene, as depicted so well in the 1971 film "Nicholas and Alexandra" and to a lesser degree in Dr. Zhivago," one of the most boring movies I've ever seen. If you've never seen N and A, get a copy of it and you may find the bond between the film and this Symphony to be very effective. I watch it 2 or 3 times each year and I am always drawn back to this music subjectively.
The 3rd movement is the melancholic "Eternal Memory:Adagio attacca" and is a generous 11:10 but I wanted more. The subtleties of this section are numerous and finely crafted by the composer and presented by the conductor. As the aftermath of the massacre in 1905, this music weeps in the hands of Petrenko and once again I marveled at his insight, tenderness and attention to detail as he molded and shaped this part with much care and devotion. Petrenko truly is an exciting conductor and I suspect his Shostakovich may not be his absolute best material and perhaps his Mozart or say, Elgar is even more terrific. Stay tuned. The finale is the "Tocsin:Allegro no troppo--Allegro--Moderato--Adagio--Allegro," and with it's several tempo changes, it draws the entire drama to a tragic and horrible conclusion. Every section of this superb work oozes with emotion, darkness and foreboding, leaving the listener on the verge of exhaustion and Petrenko allows these reactions to overtake the listener in the most natural manner. He never grandstands or poses as for a camera, but leads from the heart and the mind in proper balance, hence the massed result is justified, true and frank. To Petrenko, Shostakovich is every bit the chronicler he has become. For en even bigger treat, sample his Shostakovich 8th, 5th and 10th, three of the composer's best works. This disk comes very highly recommended and I gladly award it 5 stars. It is well worth the purchase. Best wishes to all and God bless everyone, Tony. AMDG!