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Yuri Bashmet

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Brahms: Symphony No.3
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Tchaikovsky: Symphony No.6 ‘Pathétique’

Novaya Rossiya State Symphony Orchestra

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Yuri Bashmet is one of the greatest viola players of our time, featured here as an equally impressive conductor of the Novaya Rossiya State Symphony Orchestra, an ensemble that has been conducted by the likes of Vladimir Ashkenazy and Valery Gergiev. Bashmet became Chief Conductor of the orchestra in 2002. With ‘razor-sharp performances’ (David Nice), Bashmet has been compared to Mravinsky in his dynamic and fresh approach to these three core symphonic works.

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JOHANNES BRAHMS 1833–1897

Symphony No.3 in F major op.90

1 I Allegro con brio 12.57

2 II Andante 7.42

3 III Poco allegretto 6.08

4 IV Allegro 8.25

 

PYOTR ILYICH TCHAIKOVSKY 1814–1893

Symphony No.6 in B minor op.74 ‘Pathétique’

5 I Adagio – Allegro non troppo 19.14

6 II Allegro con grazia 6.56

7 III Allegro molto vivace 8.07

8 IV Adagio lamentoso 11.52

 

Novaya Rossiya State Symphony Orchestra

YURI BASHMET

Recorded: ‘Live’, Great Hall, Moscow Conservatory, Moscow,

27 April 2004 (Tchaikovsky) & 7 February 2005 (Brahms)

Tchaikovsky: Symphony No.6, 3rd movement

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Martin Kendrick
08/Aug/2013

“A stunning disc of Brahms and Tchaikovsky. The first movement of Brahms’s Third Symphony can easily lose momentum, but Bashmet and the Novaya Rossiya State SO (made up of outstanding young players) are electrifying here. The opening has a thrilling sense of rhythmic swing and the central movements are most poetic. I would recommend this for the Brahms alone (unless you’re allergic to Slavonic horns) were it not for the coupling – a superlative Tchaikovsky ‘Pathétique’ that plumbs emotional depths without ever becoming indulgent, and that is startlingly furious in quicker music. The playing is phenomenal and the live digital recordings from 2004-5 are excellent.”

International Record Review

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    Martin Kendrick
    08/Aug/2013

    “ As you might expect, this Pathétique has many fine things in it. The first movement receives an expressive, well-organized performance…The development, attacked with a taut, edge-of-the-seat, rhythmic alterness, is gripping, the final clarinet solo is poignant, avoiding pathos.”

    MusicWeb International

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      Martin Kendrick
      08/Aug/2013

      “The results [of these two live performances] are outstanding – it’s rare to hear this most elusive Brahms symphony spring into action quite like this, with Bashmet’s propulsive opening kicking the music into vivid life. The Novaya Rossiya orchestra sound recognisably Russian – thick, dark strings and vibrato-laden winds and brass. It’s not your usual Brahms sound – the last movement’s eruptions are more dramatic, leading to a touching, consoling coda.”

      The Arts Desk

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        Martin Kendrick
        08/Aug/2013

        “Here everything holds the attention, whether in the sensitive phrase-shaping and careful balancing of the Brahms, or the searing intensity of Tchaikovsky’s Sixth… Of the many instrumentaliststurned-conductors who have arrived on the scene in recent years, I’d say that Bashmet has to be among the most original. I look forward to hearing more rostrum work from him, much more.”

        Gramophone

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          Martin Kendrick
          08/Aug/2013

          “These performances are good to hear – both for their musical insights and the excellence and individuality of an orchestra that might otherwise be denied us.”

          ClassicalSource.com

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            Martin Kendrick
            08/Aug/2013

            “Here's a chance to savour two mainstays of the repertoire recorded live in Moscow by an orchestra that visits Britain too rarely, the Novaya Rossiya, directed by its chief conductor, the charismatic viola virtuoso Yuri Bashmet. Tchaikovsky's "Pathétique" is a powerfully emotional piece under any baton, but in this shattering interpretation Bashmet digs down to its darkest depths to reveal its true Slavic soul. And his young players, all graduates of the Moscow Conservatoire, bring a real freshness to Brahms's Symphony No 3, racing through the opening allegro and dancing through the third movement with sunny insouciance.”

            The Guardian

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