Shostakovich: Symphonies Nos. 5 & 9 Concerto Budapest & András Keller

• Dmitri Shostakovich (1906 - 1975): Symphony No. 9 in E-Flat Major, Op. 70:
• 1 Shostakovich: Symphony No. 9 in E-Flat Major, Op. 70: I. Allegro 05:22
• 2 Shostakovich: Symphony No. 9 in E-Flat Major, Op. 70: II. Moderato 07:03
• 3 Shostakovich: Symphony No. 9 in E-Flat Major, Op. 70: III. Presto 03:00
• 4 Shostakovich: Symphony No. 9 in E-Flat Major, Op. 70: IV. Largo 03:17
• 5 Shostakovich: Symphony No. 9 in E-Flat Major, Op. 70: V. Allegretto 06:05
• Symphony No. 5 in D Minor, Op. 47:
• 6 Shostakovich: Symphony No. 5 in D Minor, Op. 47: I. Moderato 13:44
• 7 Shostakovich: Symphony No. 5 in D Minor, Op. 47: II. Allegretto 05:05
• 8 Shostakovich: Symphony No. 5 in D Minor, Op. 47: III. Largo 12:30
• 9 Shostakovich: Symphony No. 5 in D Minor, Op. 47: IV. Allegro non troppo 10:00
• Total Runtime 01:06:06

Info for Shostakovich: Symphonies Nos. 5 & 9

Assoziationen beim Anhören der 9. Sinfonie: Ein lebensfroher, beinah übermütiger Kopfsatz. Ein verträumter, nachdenklicher zweiter, gefolgt von einem spritzigen Presto. Und dann dieser kurze vierte, ohnmächtige Klage eines einsamen, aber lebendigen Fagotts gegen starres Blech in unisono. Ein kleines, gepeinigtes Individuum steht der brutalen Staatsmacht gegenüber. Immerhin, es klagt. Der Diktator wiederholt seine Forderung. Aber es lässt sich nicht ganz unterkriegen. Es beginnt den letzten Satz mit einem zunächst verhaltenen, ein wenig schelmischen Tanz, der immer unbeschwerter wird. Irgendwann geben Pauke und Hörner, zunächst ganz leise, das Signal zum Aufbruch. Das ist die Ansage an den Diktator: Pass auf, Stalin, jetzt kommt’s, jetzt zeig ich’s dir, mit einem Stift und einem Blatt Papier! Der furiose Anstieg gipfelt in einem grotesken Triumphmarsch, der wie befreites Lachen klingt. Der Ohnmächtige lacht den Übermächtigen aus. Und pfeift auf ihn, buchstäblich. Zurückblickend stellt sich die Frage: Wer liegt schwer wie kaltes Blech in ewigem schwarzem Loch und wer bleibt lachend in der Geschichte übrig? Der Musik nach zu urteilen hatte Schostakowitsch mit der 9. Sinfonie die schlimmste Zeit hinter sich, ganz anders als noch in der 5., aber das ist eine andere Geschichte, übrigens auch in diesem Kino.

Bilde ich mir das alles nur ein? Oder kommt es davon, dass das Concerto Budapest und András Keller so unmittelbar zupackend erzählen? Fast scheint es, als spielten hier Leute, die noch von den Nachwehen dieser Zeiten geprägt sind.

"Concerto Budapest und Andras Keller nehmen Shostakovich beim Notenmaterial und steigen mit federleichtem Spiel in die neoklassische Musik der Neunten Symphonie ein." (Pizzicato)

Concerto Budapest
András Keller, Dirigent

András Keller
The Hungarian Kossuth Prized violinist, founder of the famous Keller Quartet, music director of Concerto Budapest Symphony Orchestra since 2007 and Professor of Violin and Béla Bartók International Chair at the Guildhall School of Music and Drama in London. He has enjoyed a varied career as a soloist, concertmaster and chamber musician at the highest international level.

András Keller was seven years old when he took his first violin lessons. At the age of fourteen, he began his studies at the Liszt Ferenc Academy of Music under the guidance of Dénes Kovács, Ferenc Rados and György Kurtág and then in Salzburg, by Sándor Végh. János Ferencsik then invited Keller to work as the concertmaster of the Hungarian State Orchestra. Simultaneously, he was appointed soloist of the National Philharmonic Orchestra. From 1984 to 1991, he acted as the concertmaster of the Budapest Festival Orchestra. He founded the Keller String Quartet (András Keller, János Pilz, Zoltán Gál and Ottó Kertész) and won the world's two most prestigious string quartet competitions in 1990: in Evian and Borciani in Reggio Emilia. The ensemble is a regular guest at the most significant European and American music festivals and concert halls. They have toured Japan, Middle- and South-America and New Zealand.

Highlights of András Keller's career were, among others, the recitals given with Sándor Végh, the festive gala concert in the Barbican, London in honour of the 50th anniversary of Béla Bartók's death and Princess Diana's invitation. His solo and chamber music albums have garnered the most prestigious prizes, such as the Deutsche Schallplattenpreis six times between 1996 and 2006. He is the recipient of the honours of the city of Bonn and was voted to be the Artist of the Year in Italy. Some of his other awards include the MIDEM Classical Award (twice), the Victoire Prix, the Record Academy Award in Japan and the Grand Prix de l'Académie Charles Cros in France. In May 2007, he received the Caecilia Prize in Belgium for the best chamber music recording of the year.

András Keller is a regular guest artist of the most prominent music festivals, such as the Salzburger Festwochen, festivals in Lucerne and Montreux, the London Proms, the Mostly Mozart New York, the Berliner Festspiele, the Schubertiade, the Wiener Festwochen, the Schleswig-Holstein Music Festival or the Prague Spring. The maestro gives masterclasses throughout the world. He is a regular coach at, among others, at the Internationale Sommerakademie, in the school of IMS Prussia Cove and has also acted as guest professor at Yale University, at the Aix-en-Provence International Festival, at the Verbier Festival, at the Accademia Fiesole in Florence or the Royal Academy of Music in London.

András Keller has been coordinating and compiling the programmes of the Arcus Temporum Festival in Pannonhalma. He made his debut as a conductor in February 2003 with the Orchestre di Padova e Veneto. In 2006, in partnership with Dénes Várjon, he launched the Sándor Végh Music Nights and co-founded the Végh Philharmonic.

In the course of his concert tours, he has taken to the stages of nearly all prominent concert halls of the world, such as the Musikverein and the Konzerthaus in Vienna, the Royal Albert Hall and the Barbican in London, the Berliner Philharmonie and Konzerthaus, the Accademia di Santa Cecilia in Rome, the Concertgebouw in Amsterdam, the Carnegie Hall and the Lincoln Center in New York. Furthermore, he has been a guest at various renowned international classical music events, such as the Folles Journée, Bangkok's International Festival and the China Shanghai International Arts Festival

Besides his efforts as a music director, he also acts as the artistic director of various music events initiated by him, among others Concerto Budapest’s Mozart and Beethoven Days, "Listen to Brahms!" series or in recent years, the minifestivals, which are now established celebrations of contemporary music.

Keller's appointment as the head of Concerto Budapest induced a serious change in the life of the orchestra, as, besides their increasing classical repertoire, they also placed a great emphasis on 20th-century and contemporary productions (often in Hungary).

His accomplishments have been not only rewarded with dozens of international honours but with the Liszt Award in 1995; in 2012, the Bartók-Pásztory Prize and the Meritous Artist Award. In 2021, he became the recipient of the Kossuth Prize.

Since January 2016 he is a Professor of Violin at one of the most prestigious musical institutions in the world, the Guildhall School of Music and Drama in London.

Booklet for Shostakovich: Symphonies Nos. 5 & 9