Shostakovich: Violin Concertos - Hyperion: CDA68313 - CD or download | Presto Classical

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Ibragimova is the latest to make you think you’ve never heard [the First Concerto] played better, and her intense relationship with Vladimir Jurowski and the current incarnation of Yevgeny Svetlanov’s... — BBC Music Magazine, July 2020, More…

Release Date: 29th May 2020
Catalogue No: CDA68313
Label: Hyperion
Length: 71 minutes

Presto Recording of the Week

29th May 2020
Record Review

6th June 2020

Record of the Week
BBC Music Magazine

July 2020

Recording of the Week
Gramophone Magazine

July 2020

Editor's Choice

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This release includes a digital booklet

Contents

Shostakovich: Violin Concerto No. 1 in A minor, Op. 99

39:00

Album only

Album only

Album only

Album only

Alina Ibragimova (violin)
State Academic Symphony Orchestra of Russia 'Evgeny Svetlanov'
Vladimir Jurowski

I. Nocturne: Moderato

12:36

$2.05

$2.50

$3.05

$3.05

II. Scherzo: Allegro

6:26

$1.00

$1.25

$1.55

$1.55

III. Passacaglia: Andante – Cadenza –

15:02

Album only

Album only

Album only

Album only

IV. Burlesque: Allegro con brio – Presto

4:56

$1.00

$1.25

$1.55

$1.55

Shostakovich: Violin Concerto No. 2 in C sharp minor, Op. 129

32:25

$5.05

$6.20

$7.65

$7.65

Alina Ibragimova (violin)
State Academic Symphony Orchestra of Russia 'Evgeny Svetlanov'
Vladimir Jurowski

I. Moderato

14:14

$2.05

$2.50

$3.05

$3.05

II. Adagio –

10:01

$1.50

$1.85

$2.30

$2.30

III. Adagio – Allegro

8:10

$1.50

$1.85

$2.30

$2.30

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Further Reading

Recording of the Week, Shostakovich from Alina Ibragimova

29th May 2020

The Russian-born violinist brings searing intensity and muscular tone to the two concertos, backed to the hilt by Vladimir Jurowski and the State Academic Symphony Orchestra of Russia 'Evgeny Svetlanov'.

Interview, Alina Ibragimova on Shostakovich

21st May 2020

The Russian-British violinist talks to Katherine about her recording of the two concertos with Vladimir Jurowski and the State Academic Symphony Orchestra of Russia 'Evgeny Svetlanov', out on Hyperion next Friday.

The prospect of hearing Alina Ibragimova in two of the most important concertos written for the violin is in itself irresistibly enticing, but Shostakovich aﬁcionados will also welcome an opportunity to hear the rarely performed original opening to the Burlesque of No 1, subsequently made less fearsome for the soloist at the request of the work’s dedicatee, David Oistrakh.

Reviews

July 2020

Ibragimova is the latest to make you think you’ve never heard [the First Concerto] played better, and her intense relationship with Vladimir Jurowski and the current incarnation of Yevgeny Svetlanov’s ‘orchestra with a voice’, making just as compelling a case for the sequel concerto, is supernaturally fine-tuned…Above all it’s the massive cadenza where Ibragimova goes to the limits, not afraid of making ugly and terrifying sounds.

July 2020

If there’s one factor above all that sets these performances apart it’s the osmosis between soloist and conductor. There’s a musical and intellectual friction going on here and it has to do with the balance between head and heart...Ibragimova’s playing has an unvarnished truth about it. It’s the kind of playing that looks you unblinkingly in the eye and tells it like it is. She’s not afraid to ‘invade your space’ or apply pressure to the sound until its rawness is almost unbearable.

29th May 2020

Ibragimova is recorded up-close-and-personal, the mics catching the rasp of wood-on-string and the occasional percussive impact of fingers-on-fingerboard in the most strenuous passages, all of which captures the physicality of the performance to great effect – you can practically smell the rosin and sweat in places...coming to this album after enjoying her intimate, conversational accounts of Mozart and French sonatas with Cédric Tiberghien I was slightly taken aback by the sheer size of the sound she summons here when required.

7th June 2020

In this first recording of the original version Ibragimova digs deep into her expressive strings, aided by Jurowski’s Moscow band. She makes as strong a case for the C sharp minor Concerto, both searching and revelling in the music’s black wit.

5th June 2020

You know you’re not in Britain either with wind players so acerbic or lugubrious, both tones being much required in Shostakovich’s postwar masterpiece. Whatever the colouring, Jurowski’s team and Ibragimova’s solo line effortlessly dovetail...Darkly meditative one moment, febrile with passion the next, she presses ahead with characteristic freshness and muscular force, and never disappoints.

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