Stokowski: Shostakovich Symphony No. 11 - Captiol SPBO-8700 (2LP set, sealed)

$

150

redgarnett Store ITEM DESCRIPTION:

This beautiful 2 LP gatefold set – amazingly, a still-sealed copy – from Captiol (SPBO-8700, US pressing, label iteration unknown – presumably rainbow labels with Capitol logo at 12 o’clock, stereo) features Leopold Stokowski and the Houston Symphony Orchestra’s incandescent account of Shostakovich’s Symphony No. 11 in G minor Op. 103 “The Year 1905”, recorded in demonstration quality sound in the spacious acoustics of City Auditorium, Houston, on 9 April 1958.

The exact track listing is as follows:

A1

Palace Square (Adagio)

15:08

A2

January 9th (Allegro)

19:59

B1

Eternal Memory (Adagio)

11:35

B2

Alarm (Allegro non troppo)

15:57

According to the indispensible website Discogs, this “Album is set up for autochangers (i.e., Side A backs Side D and Side B backs Side C). It is the only LP issue of this recording to spread over 2 LPs and must be regarded as an audiophile-like issue, though this is the original and not a Speakers Corner-like re-issue.

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Of EMI’s Capitol FDS CD re-issue of this recording, the erudite critic Robert E. Benson wrote for ClassicsCDReview:

“One might think that Shostakovich had written solely to furnish Stokowski with one of the most dramatic showpieces the latter has ever reveled in. This is a potent sonic intoxicant.

“Originally issued by Capitol in a 2-LP set, this historic recording has long been treasured by collectors for both its musical and sonic values. The symphony is highly programmatic, a large-scale tribute to the "victory" of the Great October Revolution of 1917, composed on the 40th anniversary of the occasion. The mass demonstration of 1905 ended in the brutal slaughter of thousands of peaceful peasants and workers rising against the rule of Nicholas II. The first of the four movements is called "The Palace Square," setting the sombre scene where the violent events of the day would occur, and Shostakovitch includes two Russian prison songs. The second movement, "January 9th," pictures the workers' march through the streets and their slaughter. "Eternal Memory" is the title of the third movement, a pensive requiem, and in the last movement, "Alarm," the spirit of revolt returns, with militant songs and a triumphant, percussive finale.

“This symphony was premiered in Moscow October 30, 1957, with the USSR Symphony Orchestra conducted by Nathan Rakhlin. The American premiere was March 17, 1958, with Stokowski and the Houston Symphony; the following month this recording was made. November 3, 1957 Yevgeny Mravinsky and the Leningrad Philharmonic performed it, and this was recorded (Russian Disc 11 157). The same conductor and orchestra can be heard in another live performance, recorded at the 1967 Prague Festival (Praga 254 018). Both are of demonic intensity, magnificently played; the latter is a touch more introspective. In 1958 EMI recorded the symphony with André Cluytens and the French National Radio Orchestra, with the composer present, issued on LP mono only, but actually recorded in fine stereo and issued in that format on Testament (STB 1099).

“Oliver Daniel's fine biography of Stokowski states that Stokowski wrote to Capitol Records regarding the taping of the Shostakovich. "This music is very dramatic and exciting. It needs an extremely extended dynamic range and powerful lows....Unless we give it a full dynamic range and powerful lows, its sometimes overwhelming impetuosity will not be immaculate. I hope the committee in Hollywood (Capitol's main office) will keep this in mind and will not restrain us to a less extended dynamic range than some of our competitors are using." R. D. Darrell's review in High Fidelity said, "From the first ominously brooding bars of this Eleventh Symphony one might think that Shostakovich had written solely to furnish Stokowski with one of the most dramatic showpieces the latter has ever reveled in.... I must admit that -- with Stokowski's giving it his all -- it is a potent sonic intoxicant."

“And indeed it is. No question there was much "adjustment" with levels, but the overall effect is remarkable, brilliantly conveying the stunning performance. Stokowski conducted the symphony on his Russian tour that year, and the performance with the Moscow Radio Symphony Orchestra, with the composer in the audience, is available on Russian Disc (15 100). It is about five minutes faster than the Houston recording; the introspective interludes are not as poignant as in the latter.

“Admirers of Stokowski—and audiophiles as well—must have the Houston recording.”

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And wrote critic Norman Eisenberg in High Fidelity / Musical America upon release of this album (his review is excerpted on the jacket front):

“One of the most overwhelming sonic experiences you will ever enjoy over your stereo system…The [Shostakovich] abounds in challenging sonics, taut percussive effects that stretch to the limits a speaker’s transient ability, extremes of frequency range, rich contrapuntal textures that demand low distortion. The string bass section in the fourth movement strikes me in particular as one of the most stunning things ever recorded.”

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The reverse side of the jacket carries an appreciation of Stokowski’s artistry by Leighton Kerner, as well as informative notes on the music by Edward Tatnall Canby – both provided in English only.

CONDITION:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of the still-sealed jacket is near-MINT. Really, there are no flaws to speak of and the album appears as new – a truly fine collector's copy.

The condition of the LPs is MINT. These are still-sealed, unplayed LPs – the ideal collector's copies.

PLEASE NOTE:
This LP has been carefully cleaned using a VPI cleaning machine. All LPs are provided with a new Nagaoka (or Nagaoka-style) inner sleeve. The images I've provided are of the actual item you are potentially bidding on - these are not stock images or images I've taken from other sites. Bid with confidence!

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