Repertoire: The BEST and Worst Shostakovich Symphony No. 10

[@laszlo-bencsik]

Three wonderful things: 1. A symphony I love the most about the genre (Shostakovich), 2. A great interpretation (Petrenko), 3. An amazingly interesting and rich description (Dave Hurwitz).

[@woongcho7709]

What an awesome presentation - as articulate and passionate as Ancerl's Shostakovich 10th! I used to have a CD-ripped mp3 file of this recording. One day, I decided I needed a good sounding remastered CD and went searching for one, but big sellers didn't have copies of that DG original in stock any more and I couldn't find used ones at a right price. Then I encountered the DG mono era box set, which includes this Ancerl recording, and it was on sale.I was a little hesitant to buy it because I was afraid I might end up with a bunch of murky-sounding historical stuff. I realized, however, how good mono recordings can sound and that if perfornaces are this good, you wouldn't care much about their sound quality. This box is a marvel, and even among them Ancerl' Shostakovich absolutely shines. What a performance!

[@AlexMadorsky]

After a delightful few days of short overtures, I awoke this morning with a stirring feeling that we’d be getting a video of one of the true big beasts in the repertoire. So very happy things turned out that way. Shostakovich is my favorite composer by a country mile, but I’m cognizant of the fact he’s not exactly a conventional crowd-pleaser. But who doesn’t love the 10th? The V. Petrenko clips make it abundantly clear why this symphony is so popular in both the concert hall and on recording. I’ll resist the temptation to scrawl a delete-bait post where I merely list my favorites, and I’ll keep the eccentric sleepers that our host might bat away like a fruit fly to myself. However, I must note my own “however:” it is indeed Ancerl, although for me it is essentially a tie with the incredibly exciting Karajan digital 10th. I think it’s the next thing HvK ever tell recorded. For some reason I didn’t love the Karajan at first; I must have been suffering from acute rubber cement intoxication that day. What a scherzo! Ormandy was a brilliant Shostakovichian and world peace would exist if only he’d recorded a full cycle.

[@lionsloin7869]

Another wonderful video. You are becoming addictive. What a great analysis of this great, great symphony. As you so ably show us, there is so much in this piece. Thank you David.

[@lovettboston]

Great commentary here about the transmutations of the music within the symphony. I was aware of some of this, but not all--for example, the pitch of the timpani drummed out near the very end. I have learned to distrust commentators who subject the music of Shostakovich to political disencryption, whether pro-regime or anti-regime. That being said, I'll add one more possible explanation for the horn theme in the third movement that might be better than the one you mentioned, if without endorsement. The five notes can stand for a lot of things, but one possibility is "Stalin skonchalsya," which is Russian for "Stalin has died" or "Stalin is dead." I can imagine hearing this news and, the first time, not quite believing it, then hearing it again when it's more emphatic and less deniable. Then again, the movement could be no more about Stalin than other tings not even mentioned. I knew people who lived in the USSR in Stalin's time, and they told me that they cried when they heard that he died. These people were not idiots, and they probably knew some really terrible things were going on under his rule. Because they also knew it was dangerous to express their thoughts about any of this, they often shifted blame for the bad things onto other bad people. There's a tradition for this in Russia and its culture, Soviet and pre-Soviet. It could be that one feature of absolutism (Marxist or monarchist) is the relative tolerance by rulers for criticism of fallible government officials or agencies, but never of the sovereign. The greatest Russian writers, including Pushkin and Gogol, even Bulgakov (who actually called Stalin on the phone) wrote works that criticized Russian governance in the corrupt officialdom in "The Government Inspector" or, more abstractly (in Pushkin's "The Bronze Horseman"), as an arrogant excessive power, but never directly pointing the finger at a contemporary ruler. A hardliner Tsar like Nikolai I refused to ban performances of "The Government Inspector." On the other hand, Mandel'shtam wrote a poem in the 1930s that likened Stalin's mustache to a cockroach and died in a prison camp. One other explanation for the people who cried at the death of Stalin is that they were like the mass of people at the beginning of Mussorgsky's "Boris Godunov." At first, they seem mute and indecisive, until a government agent comes out and bullies them into assuming a posture of submission. And the Russian people oblige by lamenting that they are like orphans without a protector. If you're used to living under despotic rule, you might have difficulty distinguishing between a state of insecurity and a longing for order--actually, a longing to be controlled. When I hear the third movement, I sometimes picture the guards posted outside Stalin's bedroom in the film "The Death of Stalin." They seem formulaically diligent about doing their duty, even to the point of being oblivious to the leader's passing on the other side of the door. Their semblance of watchfulness morphs into a form of mechanical indifference--a quality of Soviet rule that seems conveyed by multiple passages in Shostakovich, or at least suggested in ways that stop short of allegorical or programmatic. The death of despot, no matter how desirable, can still be a spooky experience, at least for some interim, as I was also told by someone who grew up in Haiti under "Papa Doc." As for the finale, I think of some immigrants from what was already the former USSR reminiscing about getting drunk on some very potent moonshine that they referred to a "The Path to Socialism." People under Soviet rule lacked some of our freedoms of expression, but they did not lack for other kinds of outlets, and Shostakovich was no stranger to the shotglass.

[@1984robert]

Petrenko's Naxos cycle arrived today. I've just heard the 10th. What a performance! What Mr. Hurwitz wrote about it on classicstoday is absolutely true. This is reference recording.

[@2alberich2]

Loved the Shostakovich symphonies for a long time. Thank you for letting me know why I love them so much!

[@johnwright7557]

So glad you did this one. If I had to choose one Shostakovich symphony as my favorite, it would be the 10th. Thank God, I don’t have to. You have selected my three favorite recordings, too: Petrenko, Karajan (2), and Jarvi in my current order of preference. Thanks for doing this long-awaited video!

[@robertbubeck9194]

I have been eagerly anticipating this day for months and Dave certainly did not disappoint. His disassembly and clarification of No. 10 puts most all album notes to shame. Thank you, Dave! Since folks are mentioning their favorites, for years my go-to recordings have been the Karajan #1 (1967 tulip DGG LP and remastered SACD) and the Ormandy/Sony, which offer two engrossing and powerful alternatives.

[@chihamats]

Finally! I was waiting for this type of video where you talk about the best (and sometimes the worst) recordings of a particular work; that’s what got me binge watching this channel!

[@HassoBenSoba]

In September, 1965 my piano teacher unexpectedly handed me a score and LP and said "here; see what you think of this." It was a small, French/Boosey edition of the Shostakovich 10th and the Mravinsky recording on the "Concert Hall" label (?). I had never seen a full orchestral score before that fateful day...but my life was forever changed. I became obsessed with the Shostakovich 10th. Soon after, I acquired the Mitropoulos version..and then...6 months later (3/24/66) found myself in the upper gallery of Chicago's Orchestra Hall for the legendary Shosta 10th of Leopold Stokowski (technically still available in the CSO's box set). Unforgettable. Stoky opened the show with an awesome reading of his Bach Cminor Passacaglia transcription, plus a thoroughly distorted Beethoven 8th. For some reason...possibly due to the "exalted" position the 10th holds for me personally, I've never really explored many other versions; it's almost as if there's no point in "competing" with the thrill of those early memories. I keep the JARVI/Chandos recording on hand (it's great), and have listened to Ancerl (thanks to your earlier recommendation) on You-Tube. It's unbelievable and, if there are still CD copies available anywhere in the world (at a decent price) after your video today, I'll buy it (since Ancerl was a mainstay of my early "awakening" to great music and performances, thanks to the '60's budget labels Parliament and Artia). LR

[@jacquespoulemer3577]

HassoBen Soba, It seems we wandered down a similar path. My first disc of Shos,10 was Mitropolous, my ears only twitched in the last movement back then (Since then I appreciated it more) Mravinsky & Ancerl came later. I heard the Stokowski with a Chicago friend of mine who had bought the CSO Box and THAT made my ears stand up straight all the way through the piece. AND LUCKY YOU were there. (I also like the Bee,8 but don't tell hassoben) Since Stoky All the other recordings are now intelligable to me and I enjoy them so much more. (I'll have to give Jarvi a go, I actually 'save' things to listen to later. I like Jarvi and look forward to giving it a hearing. If for some reason you don't have the Chicago box, you can give it a listen on youtube (even the 8th is there if you want to get mad again) Ancerl, the Wonderful Karel. My first disc of his was stravinsky's Oedipus Rex with Vera Soukupova and Ivo Zidek (who I still enjoy) All the Best, JIM Oaxaca

[@burke9497]

Thanks for your insight and appreciation of this symphony. I love Shostakovich in general. This video is helpful because, for whatever reason, I haven’t “bonded” with the 10th yet. This gives me motivation to spend more time with it. The eighth is one of my favorite symphonies ever.

[@DavesClassicalGuide]

Glad it was helpful!

[@belpit66]

One of the happy results of watching your videos is that I've begun to collect recordings by Ancerl, so thanks for that. This one is definitely going on my list.

[@garysikon1812]

Finally the shostakovich 10! Been waiting for this one

[@cappycapuzi1716]

I wondered why this talk was so long. Well, you obviously enjoy this symphony! I have never seen you this excited, David. I was a stranger to this masterpiece until about 4-5 months ago when I got HvK's first recording and liked it. The sound world alone fascinates me. And I have purchased Rostropovich's box set of Shostakovich's symphonies. You don't like that 10th, but of course I still need to check it out and will listen to it tonight. The detailed talk is very helpful!

[@bannan61]

Great review. Good mono is far superior to poor stereo and the Czech Phil are amazing. I fully agree with you on that one. As for Ormandy, he's one of those conductors who we took for granted. I've been digging out his recordings on CD (CBS and RCA) and there is hardly a dud to be heard. What a musician he was and what a fantastic orchestra! As a Brit can I also comment on the level of performance from the orchestras that you mention from Wales, Scotland and Liverpool. All of them have improved remarkably from what they were achieving 20 or 30 years ago. Keep up the good work.

[@DavesClassicalGuide]

Yes, they are really world class as often as not.

[@bannan61]

@@DavesClassicalGuide By the way, I rather like the Jarvi performance in that Telarc Cincinnati box set taht you recommended. Very fine indeed.

[@lucbenac9756]

I had not really got into Petrenko before but the 10th really got me reappreciate his work.

[@keithcooper6715]

+The tenth was the second Shostakovich Symphony I heard - Always loved it. But THANK YOU Dave ! - I love it even more now. And I get a new word for my vocabulary almost ever time I listen to one of your analysis . BONUS !

[@richardwiley3676]

The Ancerl is just awesome, nothing compares. Talking of Karajan there is a live performance in Moscow with the composer present, apparently he was very impressed. Sonically a bit weird with the percussion very upfront but I've never heard Karajan sound so wild.

[@grantparsons6205]

Fabulous review Dave. Many thanks. The 10tg is such a beautifully crafted work and is also full of emotional impact. My very worst recording: Rattle's plod through with the Philharmonia. And a surprise fabulous reading: Litton in Dallas.

[@scuunjieng]

Many thanks for this very illuminating talk. Shostakovich is my favorite composer and after the 5th this was my favorite symphony. Recently I have been listening more to 8 and 4 but your talk made me revisit this and it really is a gripping work where again Shostakovich captures the times like no other

[@olinwilliams]

I have followed your videos since day one. This is my favorite!

[@williamcookmiller6997]

I enjoy these videos so much. Jarvi, Petrenko, and Ormandy were unknown to me and just great (though you are wrong about Mravinsky IMHO -- the version in better sound that was released on Erato is so stunningly fierce and thrilling; just listened again to confirm). Thank you immensely.

[@michelangelomulieri5134]

I've always thought about Shostakovich music as a telluric and matheric shock to human beings soul. And Kondrashin serves this purpose in a rather consistent and powerful way so that his whole cycle is my favourite one ever. Dave, your reviews are always top notch. Thanks a lot!

[@PeteWood-vy5ll]

Really?

[@michelangelomulieri5134]

@@PeteWood-vy5ll This is my personal opinion

[@Misha.K23040]

Almost an hour of Hurwitz on Shostakovich, I can’t wait to dig into this one😁!

[@keithcooper6715]

The guy is GREAT - Isn't he ? - I have 3 recordings of the 10th - Karajan, Jarvi & Wigglesworth. I listen to Dave and then it's an afternoon of Shostakovich 10 - Things come to light !

[@FCarraro1]

thank you for this wonderful talk on one of my favourite pieces of music ever. I also just noticed for the first time that the incipit of the theme of the Allegretto is exactly the same of the Scherzo of his Violin Concerto n.1 (even the same rhythm, although being much slower). The DSCH theme at the timpani is probably the most iconic moment of the entire symphony, and my favorite for sure. Also, when you quoted Pink Floyd in relation to the augmented theme in the second movement I genuinely lmao.

[@MDK2_Radio]

You mean the D-S-C-H? It appears in a few other works as well such as the 8th string quartet.

[@DavesClassicalGuide]

And the 15th Symphony, and...

[@markgibson6654]

I became familiar with this symphony through one of the Maxim Shostakovich recordings, and fell in love with the 1st 2 movements and dismissed the 3rd and 4th movements. Listening to snippets from the 3rd and 4th movements in the V Petrenko recording I am am moved to give the symphony as a whole another try. Thanks David!

[@williammoreing3860]

Thanks as always for explicating a difficult piece with such clarity! Cheers!

[@jensguldalrasmussen6446]

No wonder Petrenko has such a deft hand at conducting Shostakovich. According to a review of his recordings of the complete symphonies on MusicalNet: "Vasily Petrenko ... was born in Leningrad in 1976 and made his conducting debut with the RLPO [Royal Liverpool Philharmonic Orchestra] two years earlier". See, that's what I call precocious talent! 😁 Joking aside, the sound bites from Petrenko's recording in the video really whetted the appetite for more, so that box went straight to the top of my wish list! And how can one disagree with that final however-choice: Ancerl's recording is certainly in a class of its own! Maybe David could take the opportunity in connection with the present release by Supraphon of Ancerl's and the Czech's live recordings in a 15 cd box to let Ancerl appear in the "The 10 best recordings of ..."-series? Although, that might create some difficulty, as the most likely answer to the question: which are Ancerl's 10 best recordings, would be: all of them (or at least almost all of them)!

[@DavesClassicalGuide]

Fear not! He's on the schedule, and I'll figure it out somehow!

[@OuterGalaxyLounge]

A rich overview, with the added bonus at the end of a funny analogy to spurting bodily fluids. It's doesn't get any better. Yes, the Ancerl is off the chain.

[@fjblanco]

“You gotta have those body fluids spurting all over the place…” Another classic Hurwitz review. The three recordings I have; Karajan BPO, Jarvi RSNO and Petrenko RLPO, I got because of your reviews… Ancerl, here I come

[@richarddefortuna2252]

Ancerl and the Czech Phil are phenomenal.

[@theforceiswithme8804]

What a WONDERFUL analysis and review!!!

[@vincentspinelli9995]

Wow. What a stimulating review! I am so glad you included the Mitropoulos. It was my introduction to the work and I wore out one copy and over time got two more. I guess it remains a sentimental favorite in many ways. I am not familiar with the Sanderling, Wigglesworth and Ancerl. Right now, Petrenko is my preferred version. I find it stunning. However, you make Ancerl sound pretty good..............

[@johnmarchington3146]

You're a man after my own heart! The Ancerl was my introduction to this magnificent work and I love it as much now as I did when I first heard it so many decades ago. I also have both the Karajan's and the Ormandy (coupled with the 4th). I also have the Andris Nelsons/Boston Symphony - bought because The Gramophone raved about it - but the great climaxes in the first movement just drag and I just can't get used to them. I love the playing and the recording (DGG) and the other movements are well handled, but ... I am also very impressed with the Petrenko although I don't currently own it. (I love his fourth and 'Leningrad').

[@MDK2_Radio]

Echoing Chihaya, I’m happy this is up! This was my introduction to Shostakovich who I have loved ever since. Time to dive in…

[@MDK2_Radio]

I definitely prefer Karajan’s earlier recording to the later one. But I have both and after seeing this I will give it a listen with your observations in mind and see if I hear it differently. Also will seek out Ancerl, that’s one I haven’t heard. Thanks for the interesting and informative video.

[@steveevans6241]

Great analysis (in the way we've come to expect!) of the form & structure, alongside how the recordings measure up, in this entertaining review. To make this symphony work I agree it has to mostly be taken briskly & the Ancerl definitely has the hot wheels on for its time. Mravinsky is surprisingly disappointing (as in some others), but Ormandy & Petrenko certainly throw the juice over their orchestras to make my top 3 clear above the rest. Always a great composer for percussion, the way Shostakovich uses the full range of the tam-tam in this symphony, especially in the atmospheric Allegretto, is just superb.

[@Jasper_the_Cat]

I'm crying- how could I have listened to this, my favorite Shostakovich symphony, so many times and am just now hearing the DEbCB on the timpani at the end? Thank you thank you thank you Dave for opening my ears.

[@colinlambert882]

My first ever Shostakovich what the 5th, so I jumped at the chance to buy the Anćerl version of the 10th, then on budget, DG label Heliodor. It was a favourite symphony right from the start. When the first Karajan recording came out in 1966, I saved my pennies to buy it to get a stereo version. My third is a live Prom in August 1968, the first visit by USSR State Symphony Orchestra to the UK with Svetlanov. Everybody remembers Rostropovich playing the Dvorak cello Concerto just after the Russian invasion of Czechoslovakia but few remember that the concert ended ironically with Shostakovich 10. There is a poorly recorded cd extant and it may not have been the ultimate performance but just being in the RAH that night was an experience, never to forget.

[@sclugstone]

Wonderful video, with super analysis and recommendations. Reading your book on the Shosty symphonies right now! And I have a ticket to Cleveland Orchestra, April 23, performing #10 under Klaus Makela, fingers and toes crossed for a thrilling evening. Get your tickets folks.

[@DavesClassicalGuide]

Thanks and have fun!

[@cappycapuzi1716]

you are absolutely right! The Rostropovich is not recommendable. Part of it is from the slow tempi, but it's also from what I term "distant miking." The sound lacks immediacy. The other symphonies in his box that I have listened to are OK it seems, though I haven't gone through them all. One of these days I will listen to your talk as I go through the symphony with my HvK recording.

[@williamwescott4213]

Thank you very much for your additions to our understanding of these fine works.

[@frankenoise]

Love this channel and your comments can be hilarious! I was curious if you've thought of doing a video on your favorite arias. Would love to see you picks!

[@Ensign_Smith]

I *love love love* that Jaarvi recording on Chandos!

[@neaklaus52]

I just listened to the Ormandy recording. All I can say is I wish he had done a cycle. His recording blow most of the others off the map!

[@krozjr5009]

It’s always fascinating hearing other people’s opinions on pieces I hold so dear. I’d never noticed, for example, the fixation on three-based rhythms but now can’t I hear it. I agree with you on many points Mr Hurwitz, but in others I did find myself going “hmm, no, I disagree” - the wonders of having opinions, eh? I see the tenth as a musical expression of emotion, in all its forms; a pure and unmodified (into a framework as was demanded by pure socialist realism) representation of what it means to *feel*. The third movement I do sort of hear as a romance of some sort - waltzes are romantic, and the Elmira theme cuts through the darkness with a blazing warmth. It’s almost as if this positive emotion is able to overcome the bleakness that permeates the movement and the anger from the second. The second movement is of course furious - I think that’s one of the few relatively uncontroversial things I could say! - and brilliant. For me, the sweet spot lies between 3:55 and 4:10, as any slower loses tension and any faster becomes sloppy. While I feel that blindly quoting Testimony without acknowledging the issues is something to be avoided, I will concede that I can hear this as certainly Stalin-adjacent; an expression of anger and outrage and anguish at the regime and what it caused. The first movement. Oh the first movement. It’s the perfect example of “it’s the journey not the destination”. It’s essentially circular, as it winds up musically in the same place it started but you feel very different. I can’t even necessarily define what feeling the climax produces, but it is just a raw and unfiltered outburst of emotion. Here it is. Take it all. As for the finale, I hear it as one last sarcastic jab. The major-key final coda seems to jump out at me, slightly by surprise. I see it as a deliberate “accidental” twisted muscle memory - the symphony under Stalin must be seen to have a happy ending, and so Shostakovich slaps one on where one is not perhaps entirely fitting in order to “satisfy” the dictator who is long dead. Burying the true emotion and more importantly the complex struggle of differing and healthy emotions under the thinnest veneer of happiness and a joyful ending.

[@wilsonfirth6269]

I've always rather prized my Svetlanov recording. I vividly remember how he had the unenviable task of conducting this piece at the Proms in the Royal Albert Hall on the evening of the day that Soviet tanks roared into Prague. Somehow or other the Russian orchestra managed to play through the initial protests and, as I remember, the the audience was largely won over by the end.

[@georgenestler2534]

Wow Dave, Shostakovich's 10th is also my favorite. I have to admit I don't like the 13 and 14th because of the singing. But I like the 15th. I can't wait to get up in the morning to go on u tube to hear your talks.

[@toddschurk8143]

Enjoyed this talk about a favorite symphony very much! I have 4 of your recommendations already, and thought I'd mention one more that I've enjoyed for years. As with the Ancerl and Mitropoulos versions it's a quick paced (50 minutes, 3:54 for the 2nd movement) mono recording (though excellent) by Fritz Konwitschny and the Leipzig Gewandhaus from 1954, only 6 months or so after the premier. No, they're not the Czech or N.Y. Phil. but the playing is involved and intense. It's a surprising sleeper, and I think worth hearing.

[@carlconnor5173]

What a great Symphony! Petrenko really brings it. I’ve gotta check out the Ormandy. And the Ancerl too now.

[@xkay-six1845]

Great timing of this video, I’m playing it in about 2 months!

[@jamessteffen8812]

I finally listened to the Ancerl recording and it really is superb. The first movement unfolds beautifully because of his and the Czech Philharmonic's sense of pacing, phrasing, and contrapuntal layering. I feel that I grasp the symphony a great deal better after listening to this. And the second movement is just breathtaking! I don't normally seek out mono recordings simply because I have a strong preference for stereo, but this is a fine-sounding recording, too. Would you consider doing a video on must-have mono-era recordings in terms of both performance and sound quality?

[@DavesClassicalGuide]

I'll think about it.

[@jdistler2]

Excellent and illuminating talk! Bravo! Among memorable historic versions, there's one that's probably difficult to source, yet try to find the live 1966 Stokowski/Chicago Symphony performance that was issued in the orchestra's first big CD box of archival broadcasts.

[@vincentspinelli9995]

I think it is on KZbin

[@HassoBenSoba]

I was there on Thursday, March 24, 1966 for the first of 2 performances...my first time at the CSO, sitting WAY up in the gallery. Back/Stokowski Passacaglia in Cm, Beethoven 8th, Shotsa 10th. THRILLING! The brass and perc blew a little "Tusch" (fanfare--in EFlat) in honor of Stokowski at the end, which the CSO organization inexplicably ELIMINATED in their box-set release (I have a complete air-check, though). LR

[@murraylow4523]

Hi, and yes. I’m not sure whether you in NYC can listen to BBC Radio3 “building a library” which, I, for one, have been listening to since the 1980s. This morning’s was a classic in that in Rachmaninov’s second sonata, there is an obvious urge (and a good one that I’d support) to promote more recent performances. But the spectre of Horowitz hung over it in the most obvious way and in the end they had to create a special category for his live 1968 recording, pretending it was “historical”, despite excellent sound and the way the reviewers were quite blown over by it! So maybe Stokowski is the way to go on this one I must check it out, despite having some of the more recent recommendations:)

[@HassoBenSoba]

@@murraylow4523 Incidentally, when the CSO selection committee submitted their performance suggestions for inclusion in the big box set (and despite the great variety of possibilities cited by each member), EVERY ONE OF THEM included the Stokowsky/Shosta 10th on their list, even though it meant devoting a major amount of playing time to a conductor who had not been a CSO music director. It was the only UNANIMOUS choice. Note: though there are some typically screwy Stokowski "touches" in his rendition, the electric thrill in the hall is palpable in the recording, especially in the finale. Too bad the CSO committee did not include the announcer (Norm Pellegrini) at the end, when the brass/perc blew their little fanfare during the applause; Stokowski interrupted the audience and said" All over the world they call that a "Tusch": I guess that means they [the players] liked it." I remember it like it was.....ohh..let's say..last week. LR

[@johnstoddart3962]

The Petrenko and Karajan are fine (there's a live Karajan in Moscow, superb performance, so-so sound) but I'm still wedded to the old Svetlanov. Not least for one of those quirks that endear you to a recording - the conductor whistling along with DSCH in the allegretto. By Melodiya standards, not bad sound.

[@joseperla9806]

Wonderful commentary on the symphony and review of the recordings! Also worth seeking out on KZbin is a private recording of the two-piano version performed by Shostakovich himself and his great friend the composer Mieczslaw Weinberg (upoaded in four separate videos). The second movement is appropriately dispatched in 3:44! A survey of Weinberg's amazing output is overdue, my dear Mr. Hurwitz! Thank you....

[@DavesClassicalGuide]

I'm not too fond of Weinberg, but we'll see.

[@joseperla9806]

@@DavesClassicalGuide Too bad, because Gramophone is way ahead of you in glowingly reviewing violinist Linus Roth's latest Weinberg collection "Light in Darkness" ... which by the way is astonishing because neither the composer NOR the performers NOR the label are English. But from your comment it appears you do not remember that you have already penned some very positive and insightful reviews of Weinberg recordings at Classics Today. I'm hoping you will devote a video that updates those reviews while also commenting on subsequent releases. Thank you sir!

[@DavesClassicalGuide]

@@joseperla9806 Please don't be snide. I remember exactly what I wrote at classicstoday.com, and I stand by it. I never said that Weinberg is bad, merely that, as I said, I'm not too fond of him personally. One thing has nothing to do with the other. I am more than content to let Gramophone "get way ahead of me" as regards Weinberg recordings. In fact, they can corner the market. I will happily stay way ahead of them elsewhere.

[@joseperla9806]

​@@DavesClassicalGuide You have called Weinberg a "tremendously sincere and worthy composer", and I take that as fondness! If you have revised that opinion and feel differently now, that's okay.

[@DavesClassicalGuide]

@@joseperla9806 I think you misunderstand what criticism is. You can respect an artist without loving them. Criticism is not autobiography (or it should not be--all too often it is just that, especially these days). It is not about what I like or do not like. It is about what the artist does. Whether I like it or not will factor into the final assessment, but it is not the most important thing about it. There are many composers and performers I respect but do not love. I do not have to love them to admire them, or to write an effective and positive review of a work or performance. That is professionalism, and it is what separates critics from fans, or casual listeners. You have one overriding impulse: to find what you like. A critic doing his job, on the other hand, should be concerned primarily with what others might like, and so give them the tools they need to make informed decisions for themselves. The fact that you have a hard time accepting the notion that I may not especially care for Weinberg, despite saying positive things about him, is evidence that I have done my job adequately.

[@alexchristopher221]

This is my favorite symphony of his. I have the Karajan DG recording but haven't yet heard the one you like best. I must get it.

[@mackjay1777]

Great, great symphony. There's a passage for strings only, toward the end of the finale that always gets me, so beautiful. When I listen to this work I prefer to ignore any programmatic connections.

[@markgibson6654]

I agree Jay. The programmatic suggestions do not begin to encompass what the music conveys in my opinion.

[@ntodd4110]

I got to play it in college. We had plenty of rehearsal time, so it was really tight. Best concert I ever played in, to this very day. My "chills" passage is the flute-piccolo duet at the end of the first movement.

[@richardadams9122]

I agree with your top recommendation. I went to Simone Young's concert performance of DSCH 10 a couple of months back (late 2021) with the National Symphony Orchestra in WashDC. I've never heard the NSO play with better ensemble, and the conductor's tempi, phrasing, and section balancing were so well executed, without sacrifice of forward motion. I then purchased the Ančerl. The Ančerl is an even more riveting experience, but would appreciate your opinion on Simone Young, who impressed me more than Rostropovich, Temirkhanov, Jarvi, and Kitajenko in this symphony. Her Bruckner has been favorably reviewed in other publications.

[@DavesClassicalGuide]

If you like her, that's what matters. I saw her do a very good Mahler 6th a couple of years back in New York. Her Bruckner does not impress me.

[@platonos86]

Thanks for this marathon that feels like a sprint. What do you think of the Berglund/Bournemouth recording? I liked No. 6 & 11 a lot.

[@DavesClassicalGuide]

It's not bad, but I think it's a bit on the cool and kind of drab side--it's not really competitive with the best.

[@lotusholder]

In addition to the stupendous Ancerl/Czech Phil. rendition of the Tenth (am grateful overall that David has introduced me to Ancerl’s great Russian and Czech repertoire), another compelling reason to buy the DG recording containing it is the inclusion of his rendition ((w/ Schneiderhan as violinist) of Stravinsky's Violin Concerto in D, which IMO is one of the truly great/must-have versions of it for big fans on that piece.

[@DavesClassicalGuide]

I agree.

[@jacquespoulemer3577]

Dave the the band of Lost Record collectors, One your recommendation I listened to the Jansons Philadelphia 10th which I quite enjoyed (Jansons usually leaves me cold but not this time) Listening to the Allegretto with the infamous Elmira Theme, a scenario came to mind for an animation with this music as the background. Working Title- Elmira's Mad Again. Scene: a huge black and white Tim Burton version of a Russian Ballroom. A stiff and shy DSCH enters and gingerly approaches Elmira they dance he's not too good and very nervous, some clumsy footwork, foot trodding. Elmira gets more and more impatient with him. In the menacing section 10,minutes in, DSCH's wives Stalin Glazunov Zhdanov Lenin Mravinsky all accost him. Defeated and wistfully looking back DSCH wanders off Perhaps someone with imagination and animation skills can use this idea. Hope it was fun to contemplate. JIM

[@DavesClassicalGuide]

It was. I still don't know what Elmira has to do with that horn motive, though.

[@samuelstephens6163]

"Geniuses and Sniglets go along very well." That's a merch-worthy quote right there. Talk about a conversation starter t-shirt.

[@artisan337]

"We don't need no education!"...never heard that before but I'll think about that when I listen to my Ormandy recording of Mvt II

[@Fafner888]

There is a fascinating recording of Shostakovich playing the symphony together with Weinberg on piano 4 hands, recently released by Melodya (check spotify). And yes, they play the 2nd movement as fast as they can, just like Dave said :)

[@DavesClassicalGuide]

It has been available for decades.

[@Fafner888]

@@DavesClassicalGuide Ok, didn't know that.

[@JohnChambers-lh5bw]

I already have 3 box sets of Shostakovitch symphonies . Jansens ( not bad at all ) Rostropovitch ( better ) Kitajenko ( excellent ). Ah well one more set wont hurt . Petrenko im coming for you . Thanks for your reveiw Dave

[@elliotdavies3555]

Thank you Dave, that Ancerl performance is outstanding! What do you think of the Dohnanyi/Cleveland Shosta 10 on Decca?

[@james.t.herman]

Are you familiar with the record by Claus Peter Flor and the Concertgebouw? I came across it in my collection. I seem to remember buying after reading a rave review somewhere about 25 years ago, but today I can't find much discussion of the performance.

[@DavesClassicalGuide]

I remember it, and I had it back when, but I didn't keep it.

[@Donaldopato]

Thanks for the shout out to Ormandy. My first Shostakovich 10 as a teen!

[@Michael-nt5rp]

Effreme Kurtz with the Philharmonia Orchestra is also excellent. It’s definitely worth your while.

[@detectivehome3318]

31:07 Isn't that the countermelody in the winds in the finale of Tchaikovsky's 5th as well?

[@scagooch]

The snippets from the petrenko sound really good.

[@paullewis2413]

I’ve great affinity for nos. 5,6,11 & 15, however for me also, no.10 is the masterpiece.

[@DavidJohnson-of3vh]

Oh, my!! So many of those I not heard. I have hvk (I) and Ancerl.

[@1984robert]

Clever decision from Naxos that they gave permission to play samples in youtube videos. This is not the first case that I buy CD from Naxos because of sound clips.

[@markpaterson2053]

the 10th utterly terrifies me in that second movement

[@ME-qr7hs]

Dave, Looking for Shostakovich #10 w/ Czech Phil. Can’t find it . Any suggestions …And I have looked !

[@DavesClassicalGuide]

I really don't know. We're all in the same boat. Maybe someone else has a suggestion?

[@ME-qr7hs]

Thank You for the reply😊

[@dcar6530]

No. 10 is my most fav Shostakovich symphony, my fav versions are Pretrenko, Karajan, Barshai, Janson, and Stokowski

[@t.k.2638]

The return to section A in the second movement has always reminded me of the Gregorian chant Dies irae, dies illa.

[@OmidDadgari]

Thank you for this thorough review. I wonder why you neglect brilliant Grammy award winning Shostakovich performances by Andris Nelsons & Boston Symphony Orchestra. They're so mighty, precise and fantastic.

[@DavesClassicalGuide]

Because the others I mentioned are better.

[@roku401]

I've always interpreted the dsch theme at the climax of the finale as Shosty actually killing Stalin then having the true feelings of joy at the end, not something forced like he had to under the Stalinistic rule. I took the whole piece as a big ole' F* you to Stalin.

[@ppfuchs]

You didn't mention the very brief coda of the last movement. I wonder if that is meant playfully as another sort of inversion?

[@DavesClassicalGuide]

Huh?

[@gerbs139]

This video is long enough to fit the entire symphony!

[@ftumschk]

Sergiu Celibidache: Hold my baton!

[@HarinderJadwani]

Although definitely not for an introduction to this symphony, or for repeated listening - as the distortion in orchestral crescendos is severe - the Mravinsky (on youtube with second movement missing) should be heard once by lovers of this symphony, in my opinion - for its historical importance, and because in some ways (strings) it is exceptional .... when the distortion is absent the playing is of superlative beauty, excitement and intensity...... if only this distortion could be removed by remastering, but probably its on the tapes so it won't be...

[@DavesClassicalGuide]

This I don't understand. There are so many stunning versions of this work, why would anyone bother with that one, with it's lousy sound. I know the Mravinsky recordings. They simply aren't that unique, especially when you make comparisons in real time with the versions listed. There is nothing he offers that you can't get elsewhere, in better sound.

[@HarinderJadwani]

@@DavesClassicalGuide I have the Petrenko which I agree is outstanding particularly with orchestral color, but IMHO a little tentative or deliberate in the first movement (not in the other 3). I also have Karajan 1966 which I learned this symphony from, and the Barshai, Haitink, Jansons and Kitajenko boxes. Yes the Jansons matches the Petrenko in orchestral color and finesse but maybe a little less power than VP... But I heard the Mvravinsky on youtube, and I thought there were things there done better than these, and than the outstandingly intense Ancerl which I also heard on youtube. Sorry but that's just my opinion. And yes the second movement of Mitropolous at 3.37 is breathlessly HOT. I think the Mvrav should be heard once for its historical significance... his Tchaikovsky 4-6 remain my favorites with not Karajan or Muti coming close. Sorry again just my opinion.

[@DavesClassicalGuide]

@@HarinderJadwani You never need to apologize for having an opinion. Please don't mistake my intentions in that regard! I just don't want people to think that they need to sacrifice sound quality for interpretive excellence. Once you know the piece well, as you clearly do, then it's a whole other matter to listen to different versions for special details, but I have to think about beginners as well as hard core collectors, and so I want to caution them (not you!) to first get the know the work in outstanding performances, well-recorded. After that, everyone will follow their own path.

[@HarinderJadwani]

@@DavesClassicalGuide Sure, and yes the Mvrav is definitely compromised! Thanks.

[@jacquespoulemer3577]

@@DavesClassicalGuide I have a Male Nurse who comes to my house 3 times a week since 2017. I'm slowly introducing him to music art film history etc. So your comment on what to recommend to beginners hit home with me. I try a multi-pronged approach with Videos, scores, some analysis, and he gives me good feedback so I can adjust as I go. So far the only thing he REALLY didn't like was Meistersinger, He loved Tristan and the Ring so while we were doing comedy opera, I thought we'd give it a watch. Oh well you can't win them all. I guess Wagner wasn't all that funny. Thinking of myself as hard core,,,, I'm more albacore.

[@MorganHayes_Composer.Pianist]

Presumably a blindspot for Bernstein as he never recorded/ (conducted?) the tenth.

[@davidmeyer3565]

Student- 'When are we going to hear Shostakovich's 10th from you?' LB - 'Not from me you bloody won't' S : 'Don't you like it ?' LB - ' No, I like the 5th, 6th, 7th and the 9th'. S - 'Not the 8th? I think that's terrific'. LB - 'Ah lt's very in, to like the 8th'. That was 1966, coming out of the Aldwich theatre ; i was the student with a worn out lp of the Ancerl recording and having just heard the 8th for the first time. At that time Bernstein was one of the few playing the Leningrad. Always ready to talk music to a precocious student (with a jokey put down).

[@mauricegiacche4776]

Petrenko’s cycle with the Royal Liverpool Philharmonic is a knockout. And the 10th? Shattering!!! Worse 10th : Gergiev live in Sydney with the LSO. AURAL CHLOROFORM ! And i refuse to accept all that “ jet lag “ BS, not with tickets at $350.

[@ppfuchs]

I love the Stanislaw Skrowaczewski performance with the Halle orchestra.

[@DavesClassicalGuide]

Sorry, it's really second rate.

[@ppfuchs]

@@DavesClassicalGuide Well, I love the Mravinsky performance(s) too, so I think we may just disagree on the aesthetics here. But I loved your video anyways!

[@davidbo8400]

V I R T U O Z N I I

[@steveschwartz8944]

Perversely, I prefer his Ninth.

[@daviddorfman9429]

I heard Jeffrey Kahane conduct the Santa Rosa (CA) Symphony in a performance of the 10th. He introduced it by telling us to pay attention to the 3-note motto, ta-ta-TAH, which he said was the police rapping on the composer's door.

[@DavesClassicalGuide]

Oh dear.

[@jacquespoulemer3577]

@@DavesClassicalGuide Well that's a rap... 🙂

[@tonysanderson4031]

Your book on Shostakovich is out of print. You should get your publishers to do a reprint.

[@DavesClassicalGuide]

No it isn't. It's available from the publisher, Rowman and Littlefield, directly. Distribution seems to have gone bust, but it's available.

[@davidbo8400]

@@DavesClassicalGuide You should consider doing a stand-alone video review of your books sometime.

[@johnfowler7660]

No! --- Not my kisser!

[@johnfowler7660]

I'll report you to PETA