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Shostakovich: Symphony No. 10 | 
 enlarge | Creators: Dmitry Shostakovich, Herbert Von Karajan, Berliner Philharmoniker
Label: Dg Imports
Category: Music
List Price: $11.98
Buy New: $9.76
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Rating:  2 reviews
Sales Rank: 175501
Format: Import
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
UPC: 028947759096
EAN: 0028947759096
ASIN: B000E0LBBI
Release Date: February 1, 2006
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| Tracks:
| • | 1. Moderato | | • | 2. Allegro | | • | 3. Allegretto | | • | 4. Andante - Allegro |
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Album Description
Herbert von Karajan's digital recording of Shostakovich's Tenth Symphony (the only one of the cycle that he committed to disc) is now issued to mark the Shostakovich centenary in 2006.
Album Details
Herbert Von Karajan's Digital Recording of Shostakovich's Tenth Symphony (The Only One of the Cycle that He Committed to Disc) is Now Issued to Mark the Shostakovich Centenary in 2006.
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| Customer Reviews:
Sublime Shostakovich, complimented perfectly by Karajan January 30, 2008
Ryan Kernaghan (Wollongong, New South Wales, Australia)
2 out of 2 found this review helpful
The idea of recording one of the greatest conductors of the twentieth century, in Karajan, with perhaps the most fascinating of Soviet composers, in Shostakovich, is one of the most exciting prospects in the performance of twentieth century classical music. The idea first became a reality in 1967, when Karajan first recorded the work. This release comes from 1981, and is early in the digital era, so DG's Original Bit Reprocessing is extremely effective in restoring the quality and presence of the performance.
The electrifying Tenth Symphony (1953) is perhaps the composer's greatest work, full of mysterious, shocking and memorable musical ideas. Perhaps the most compelling part of the work is the Stalin-inspired Scherzo, which, in this recording, emerges as one of the most intense movements of the century. The persistent DSCH signature shows this work to almost be auto-biographical, the stoic Shostakovich in perpetual struggle with the enmity of the Stalin phenomenon.
Karajan's reading is magnetic throughout. His own sympathies with the music are clarified by the masterful recording. The Scherzo, I think, can be regarded as the vanguard of the entire work, and the captivation of the 'menace' of Stalin is an absolute requisite if the work's argument is to sound convincing. Unlike a slightly withdrawn and lacklustre performance from the NHK/Ashkenazy collaboration in 2006, Karajan's brass and string sections are so perfectly tuned that the music's inner meaning thunders through to the listener.
An incredible achievement. It remains a pity that Karajan did not explore more of Shostakovich's truly magnificent symphonic canon.
Preferences among Shostakovich's Symphonies January 23, 2007
John D. Pilkey (Santa Clarita, CA USA)
6 out of 8 found this review helpful
Before hearing Symphonies 10 and 11, I felt that No. 5 was the most exciting in some passages, No. 7 the most entertaining and No. 8 the profoundest. Nos. 1, 9 and 15 are a bit too cute for my taste, especially the first two movements of No. 1. I agree with critics that the propagandistic No. 12 is too blatant, especially in the finale. Now I am inclined to feel that two symphonies of the the 1950s, No. 10 and 11, are the composers' best. All of Shostakovich's symphonies exhibit well-defined tiers of emotion-- satirical, elegiac and heroic-- witty, profound and stirring. I prefer the heroic, which always seems at least latent and about to break out once the wit and sorrow are pushed aside.
Symphony No. 10 in Karajan's performance is one of the best symphonies I have ever heard by any composer of any period. It has no weak spots and establishes a standard of excellence for 20th century music. It may lack the consistent spiritual loftiness achieved by Bruckner but makes up for it with explosive brilliance. In No. 10 the composer follows slow and tense movements in the first and third with explosions in the second and fourth. Even the first reaches a crescendo of high dynamic intensity; and the emphatic second has to be heard to be believed. The composer will carry the pattern of the slow, faint and tense first movement to a greater extreme in No. 11 where it serves the program purpose of describing the Petrograd winter palace on the eve of the 1905 massacre featured in Eisenstein's film Battleship Potemkin. This program adds interest; but No. 10 is so powerful that it does not need a program.
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