Dmitri Sjostakovitsj
Dmitri Shostakovich
- Artist
- Dmitri Shostakovich
- Label
- EMI Classics
- Catalog number
- 07243 586801 2 6
- Released
- 2005
- Country
- Belgium
- Format
- Compilation
- Barcode
- 0724358680126
What’s on it
Dmitri Sjostakovitsj has 11 tracks. Open a track to see who wrote, played on and produced it.
- CD I Eerste Kennismaking
1-1I Allegro
- Conductor
- Lawrence Foster
- Orchestra
- Royal Philharmonic Orchestra
- Piano
- John Ogdon
1-3I Waltz
- Conductor
- Mariss Jansons
- Orchestra
- The Philadelphia Orchestra
1-6I Allegretto
- Cello
- Truls Mørk
- Conductor
- Mariss Jansons
- Orchestra
- London Philharmonic Orchestra
1-8I Largo
- Ensemble
- Borodin String Quartet
1-11III My Byli Vmeste (We Were Together)
- Cello
- Mstislav Rostropovich
- Piano
- Vasso Devetzi
- Soprano Vocals
- Galina Vishnevskaya
- Violin
- Ulf Hoelscher
1-13I Allegro Brio
- Conductor
- Mariss Jansons
- Orchestra
- Berliner Philharmoniker
- Piano
- Mikhaïl Rudy
- Trumpet
- Ole Edvard Antonsen
1-14VIII Romance
- Conductor
- Mariss Jansons
- Orchestra
- London Philharmonic Orchestra
- Violin [Solo Violin]
- Joakim Svenheden
1-16VI Waltz 2
- Conductor
- Mariss Jansons
- Orchestra
- The Philadelphia Orchestra
- CD II Integrale Werken
2-1I Allegretto
- Conductor
- Paavo Berglund
- Orchestra
- Bournemouth Symphony Orchestra
Where to find one
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Where it came from
This 2005 release from EMI Classics serves as part of the label's extensive effort to consolidate and remaster Dmitri Shostakovich’s monumental symphonic and chamber works for a new generation of listeners. By the mid-2000s, EMI aimed to maintain the legacy of their prestigious catalogue, which included seminal recordings by conductors such as Mariss Jansons and Paavo Berglund. The design of this release reflects the standard aesthetic for the label’s mid-2000s mid-price lines, characterized by clean, minimalist typography and archival imagery intended to evoke the somber, mid-century Soviet atmosphere in which the composer lived and worked.
The reception of these EMI collections has historically been positive among classical enthusiasts, largely because they provide a cohesive entry point into Shostakovich’s complex musical language. Critics frequently noted that these transfers offered improved clarity over earlier analog pressings, allowing the listener to better appreciate the biting irony and structural tension inherent in the composer’s symphonies. By gathering these recordings under the EMI Classics banner, the production team sought to balance historical reverence with the technical requirements of the digital era, ensuring that Shostakovich’s intricate orchestrations remained accessible to modern audiences.
Written by Pi, the helpful collecto.rs AI
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