Customer Reviews

Shostakovich: Symphony No. 10 in E Minor, Op. 93 (Karajan Gold Edition)

5 star:		(9)
4 star:		(7)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Perhaps no other orchestra/conductor combo could steamroller the listener quite like the BPO and Karajan. When the music called for sheer force, this combo was hard to beat. And this recording may be one of the two best examples of HvK and the BPO in full cry. (Their Mahler 6th recorded in 1976 is the other.) HvK's earlier 1966 performance of this symphony is faster and leaner, but this performance is more menacing and, to my ears, better-paced, especially in the first two movements. Here the opening Moderato is truly taken at that tempo (many conductors go too fast here, and the music loses much if it's "creeping" quality; the same holds true for the first movement of the Shostakovich Fifth), and the results are magnificent. The scherzo is truly hair-raising; while others, such as Haitink (believe it or not) take the movement much faster, the risk is that by playing it fast you lose some of the *weight,* particularly in the bowing of the strings. Even Karajan's 1966 reading, while faster, lacks the menace of this reading--this performance *weighs* more, and something I think some listeners fail to realize is that power is manifest by more than just speed.

Then we come to what I think are the two most problematic movements in the symphony. Karajan gets the third movement right to my ears; hard to describe, it's a quality of absurdness, of grotesque heroism, something twisted, like a Luis Bunuel film set to music. Then comes an even tougher movement, the "brain-dead" finale, as I like to call it. I cannot imagine a political and musical mind like Shostakovich--always probing, always doubting--serving up his happy-dance finale to be taken at face value. Or, if he did regard the death of Stalin as a triumph, it must have been a shallow triumph, for the tra-la-la music does not convince me. The most convincing reading I've ever heard of this movement belongs to Kurt Sanderling, who, unfortunately, is let down in much of the rest of the symphony by an underpowered orchestra. He catches a certain fey quality in the music that is very hard to put into words, however. I'd have to say, though, without going through my *entire* collection of DSCH 10ths, that Karajan comes in a close second. Again it's the weight in the passages of struggle--Karajan keeps this from being an easy and decisive triumph, and I'm left at the end feeling that the struggle could resume as soon as the recording ends. It's a satisfying ending to a work whose ending rarely satisfies me, and it's a tough job for a conductor. Karajan does well.

There are a few minor flubs that mar the recording. At one or two points in the complex first movement, sections are not quite together--barely noticible in most bands, but unusual for the Berlin Philharmonic under the baton of the conductor famed for being a controlmeister. More troublesome, though, is the clarinet solo near the movement's opening. While the tone is apprpriately haunting, one long note is held at half-again its value, a surprising mistake in an orchestra of this caliber. Later in the movement again the clarinet is just not quite as tight as you'd expect. It's a minor blemish overall, however, and the rest of the performance more than makes up for it.

This is a great interpretation. I wouldn't want to also be without Karajan I, Sanderling, Haitink, Mitropoulos and maybe a few others, but this belongs in any Shostakovich collection.

I bought this CD after hearing a live performance and was skeptical of it being able to impress as well as a live performance. However, knowing that it was Herbert von Karajan made for an easy choice of recordings. I must say that this CD impressed me MORE than the concert I attended. He really had a grasp on what Shostakovich was trying to say. Particularly fascinating is the portrayal of Stalin. A friend had told me upon hearing the symphony for the first time (without knowing it beforehand) had heard this part of the symphony and knew it was a portrayal of Stalin. I am not that well hearsed but after numerous listenings and a brief background check into Stalin, I do hear a great characterization of Stalin. Harsh, vindictive, and terror. Karajan elicits from his orchestra the necessary tempos, dynamics, and articulations to make you believe and know the story behind this work. Apart from this being a great performance, the symphony itself is the creation of a master. Solid, powerful, sublime at times----it is one of the pinnacles in Shostakovich's compositions.

The Tenth is certainly well represented in the catalogue. However, this particular performance was my introduction to Shostakovich's universe when it first appeared in 1981, and in the intervening years I have heard none better, in terms of performance and one of the splendid early DG digital recordings. Karajan only recorded this of Shostakovich's works and for that alone we must be truly appreciative. Pity he didn't do more.....

I am a newcomer to the world of Shostakovich, and this recording has definitely whetted my appetite for this great 20th-century composer. Under von Karajan's direction, the long, epic first movement unfolds a landscape of indescribable desolation and barrenness, with many passages that are positively chilling (eg. the clarinet melody). The scherzo and the waltz are appropriately demonic, and the final movement is as cathartic as one could desire - and with incredible virtuosity from the Berliners. Von Karajan show us why many experts consider the Tenth to be Shostakovich's greatest symhonic achievement.

I was able to compare this and the Galleria CD re-issue of the 1966 recording. I prefer the earlier recording, in terms of sound and performance. There is something synthetic and overly calculated about this issue, and to my ears the earlier recording simply sounds better.

I kept the Galleria edition, and traded the DDD version.

I still think the best recordings remain the early mono sets by Mitropoulos, Kurz, Ancerl, and Mravinsky. The Ancerl may be the best of all, and it has been re-issued by DG, coupled with the Stravinsky Violin Concerto. Good luck finding it, and if you do -- buy it! The Kurz recording has been available on Testament, and it features Dennis Brain in the 3rd movt. horn solos -- not the only reason to grab this excellent re-issue.

Shostakovich's 10th Symphony has been performed very well on many recordings, but this is one of the greatest of all of his recorded works. Herbert Von Karajan's fierce, mathematical brilliance is suited perfectly to Shostakovich's coded masterpiece.

Dmitri Shostakovich contributed one of the 20th-century's most memorable and moving symphonic cycles. Even the symphonies considered to be "sub-par" (e.g., perhaps 2, 3 and 12) have musical passages of great interest, and almost all of them - like Mahler's works - show off what a great orchestra is capable of doing.

For whatever reason, Herbert von Karajan only chose to record the Tenth - and he did it twice. This is great listening, and there can be no doubt about one point: the orchestra is playing at an extraordinary level of virtuosity, in a work that absolutely demands it. From the opening pages to the fiery conclusion, Karajan shows great concentration, and if you haven't heard other versions this one will surely make you go "wow." (Just for reference, I have three others, all excellent: Dohnanyi with Cleveland, Haitink's studio version with the London Philharmonic, and a live version from 1985 with Haitink and the Concertgebouw.)

All this said, of the two Karajan releases, I prefer his earlier recording from the mid-1960's. The playing may not be quite as polished, but the energy level is higher. I especially like the earlier "Allegretto," four minutes of some of the most extreme virtuosity you'll ever hear. The younger Karajan chooses a tempo so fast, so furious that the ensemble briefly loses its grip - just long enough so you are reminded that human beings are grappling with the score. And in the final movement, when the powerful "DSCH" motto appears, as a climactic fortissimo unison capped with an enormous percussion crash, the earlier recording again scores over the later one. It's just more exciting music-making.

This later version is excellent - make no mistake - but somehow it doesn't have that edge-of-the-seat excitement of the earlier one. However, anyone who chooses this disc will not be disappointed. Karajan and Berlin were a powerful, unique team, and almost anything they tackled is worth sampling.

This is a superb recording of Shostakovich's greatest symphony. It truly captures the fierceness and melancholy of this intense piece. Karajan most certainly does a superb job here. My only complaint would be its length. Like Karajan's version of "The Planets" which I also own, this CD is somewhat short. Aside from that little fault this is a great CD however.

It's no secret to those in the know that Shostakovich used the letters DSCH as a monogram to represent his name in music Dmitri SCHostakovich. The 10th is an optimistic-tradegy. It is finally the end of Stalin and the rebirth of Shostakovich. Thus the final movement has the DSCH motif blaring everywhere. Where I disagree with my comrades is that this is more than just a DSCH symphony it is also one of his most German symphonies!

Who then would be more appropriate to conduct it than the legendary Herbert von Karajan leading no less then the Berlin Phiharmonic. Karajan does what he does as usual so well. Tracing the music lines which are so linear in the first movement and building uncluttered well played climaxes. If you've never heard this symphony before and turn up the volume for the soft beginning and keep it there you will be in for blast of volume that only an orchestra like the Berlin Philharmonic could project in all digital sound. The second movement is terrifying. Karajan is slow at 4'09" but do you realize that the fastest 10th is only about 9 seconds away? There is very little to be critical about this performance. I hold it as the standard by which all Shostakovich 10th's should be compared. The horn calls in the third movement are perfect and beautiful I might add. The semi-improvisitory theme and variation like finale which can be tricky is a success.

Even Mravinsky didn't get this symphony right when he conducted it. He would always speed up the "prelude" to the finale. To me Shostakovich was trying to give the audience a mental rest between the third and fourth movements. It would probably be impractical to have everyone stop for three minutes during a performance so I think Shostakovich composed this music. Most people ignore this about Mravinsky, but he takes this music and this rest period at double time.

If you happen to come across the 1966 version of Karajan's Shostakovich 10th that will do as well. They are practically identical twins although one is analog (1966) and one is digital (this version circa 1981).

Have no regrets as I have no caveats in a full 10/10 recommendation.

The opening movement, as is usual in Shostakovich's largest symphonies, is a somber event. Unlike the first movements of the 11th and 6th however, there is considerable thematic development. Mournful cries by the woodwinds; Karajan's oboist is expert when he enters at 6:10. The brass is very powerful when it enters mid-movement.

The other three movements are just as well done: the hair-raising Scherzo whirls with mad fury, the Allegretto third movement has panache, and the last movement is properly heroic.

Judging from some of the complaints of Herbert von Karajan's reading you may get the feeling that this reading is not "Russian" enough. Don't let that sentiment sway you. Shostakovich often praised interpretations by non-Russian interpreters, not least Leonard Bernstein. And inside the liner notes to this worthy CD is a picture of Shostakovich and Herbert von Karajan together. So don't worry about the interpretation; it's great. You can enjoy a lot of recordings of this symphony, there are plenty out there. But this one has led the pack for good reason.