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Shostakovich: Symphony No. 10

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Audio CD, November 16, 2010
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Song TitleArtist Time Price
listen  1. Symphony No. 10 in E minor, Op. 93: I. ModeratoRoyal Liverpool Philharmonic Orchestra22:45Album Only
listen  2. Symphony No. 10 in E minor, Op. 93: II. AllegroRoyal Liverpool Philharmonic Orchestra 4:05$0.89  Buy MP3 
listen  3. Symphony No. 10 in E minor, Op. 93: III. AllegrettoRoyal Liverpool Philharmonic Orchestra12:11Album Only
listen  4. Symphony No. 10 in E minor, Op. 93: IV. Andante - AllegroRoyal Liverpool Philharmonic Orchestra12:56Album Only

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Shostakovich: Symphony No. 10 + Shostakovich: Symphony No. 8 ~ Petrenko + Shostakovich: Symphonies Nos. 6, & 12 - The Year 1917
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Product Details

  • Orchestra: Royal Liverpool Philharmonic Orchestra
  • Conductor: Vasily Petrenko
  • Composer: Dmitri Shostakovich
  • Audio CD (November 16, 2010)
  • Number of Discs: 1
  • Label: Naxos
  • ASIN: B0040SOKTK
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (18 customer reviews)
  • Amazon Best Sellers Rank: #52,208 in Music (See Top 100 in Music)

Editorial Reviews

Product Description

In the wake of his Naxos recording of Shostakovich's Symphony No. 8 (8.572392), hailed as 'yet another Petrenko performance to join the greats' (BBC Music magazine), comes this much-anticipated interpretation of Shostakovich's massive Symphony No. 10, which ranks among his most important and consistently popular works. Branded with his musical monogram DSCH, it embarks on a profoundly personal journey from fearful brooding to thunderous triumph. In 2010 Vasily Petrenko was named Male Artist of the Year at the Classical Brit Awards, a testament to his galvanizing achievements with the Royal Liverpool Philharmonic.


Since winning Gramophone's Young Artist of the Year Award in 2007, the Russian conductor has been credited with transforming the Royal Liverpool Philharmonic Orchestra. His Shostakovich recordings for Naxos in particular have attracted significant critical attention. 'Petrenko's Shostakovich cycle goes from strength to strength,' noted David Fanning. His account of the Tenth Symphony was nothing other than 'profound and passionate'. Petrenko's ability to negotiate the physical demands of the Tenth, as well as his instinct for pacing, left DJF little choice but to declare that 'if there has been a finer account of the Tenth in recent years, I confess I must have missed it'. --Gramophone, Awards Issue 2011

Customer Reviews

4.8 out of 5 stars
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My highest recommendation!
Thomas E. Kuelbs
This is a great follow-up to Petrenko's equally fine performance of the Shostakovich 8th - an even better symphony, in my book (they're both great).
Amazon Customer
There is obvious emotion in the playing and a vision of what the music means.

Most Helpful Customer Reviews

52 of 53 people found the following review helpful By Steen Mencke on November 16, 2010
Format: Audio CD
The tenth is arguably one of Shostakovich' finest works, continuously battling the fifth for the gold in the popular vote, and over the last fourty-odd years a multitude of first-class performances have found their way to the mediums of LP and later CD. It is a symphony that demonstrates both great depth of emotion and at the same time the expressivety of a marching brass band (in short, Shosta at his best), and, composed in the exuberant months following Stalin's death in March 1953, it occupies a pivotal position in the oevre of the composer (for more about the symphony per se, see also my review of Semyon Bychkov's exemplary recording for AVIE).

Vasily Petrenko, by now a Shostakovich interpreter to be reckoned with, handles every note to perfection, and what a first-class orchestra the RLPO has become over the last decade! Every instrument group, sounding smooth as silk, shines like a midsummer sunrise and even the subtlest phrasing is in perfect sync. This is praise indeed - but therein, oddly enough, lies also my only real reservation when comparing this recording to others of equal standing.

Many years ago a critic for Gramophone magazine, when reviewing a Mahler recording by Leonard Bernstein, could not help complaining that once more the conductor just simply had to squeeze that last drop of neurotic angst out of the music, and this technique was beginning to feel a bit "over-done". He may have had a point, but once you've grown accustomed to heart-on-sleeve interpretations the "straight-up stuff" tends to come across as just a tiny bit bland (or under-salted, to stay in the technical language of the kitchen), and, to me at least, there was a spot or two in Petrenko's reading that was just a tad too straight forward.
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26 of 26 people found the following review helpful By KARL on November 22, 2010
Format: Audio CD
I have listened to many performances and recordings of the Shostakovich 10th since my initial encounters in the middle 1950s via Ancerl on Decca LP, and Mitropoulos on Columbia LP (this latter regarded at the time as a `demonstration quality' recording). However, no performance from then to now is the equal of this new one from Petrenko. In contrast to Karajan and others' versions, this brilliant performance SOUNDS like Shostakovich. It is thrillingly recorded. You owe it to yourself to hear it.
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21 of 21 people found the following review helpful By Amazon Customer on December 23, 2010
Format: Audio CD
One of the records I treasured in my youth, and still haunts me today (I lost it somewhere years ago), was a Shostakovich 10th that I had on a Melodiya Angel LP with Yegeney Svetlanov conducting the USSR S.O. (Moscow). I've heard a number of fine recordings since (including Skrowaczewski), but none of them has erased the sound of that old Svetlanov one in my mind. This new recording of S10 with Valery Petrenko has THAT sound. Perhaps it's the air-raid siren oboes during the louder parts, or the fast vibrato during the fourth movement's big bassoon solo (some say that Shostakovich represents himself with the solo bassoon). Or, perhaps it's the rather expansive yet focused treatment of the first movement, only to be immediately followed by an outrageously manic performance of the "Stalin" movement. Regardless, I feel that my ship has finally come home with this new one. It's a bit hard to believe that such mature and thoroughly idiomatic Shostakovich could come from a conductor who never had to face the horrors and absurdities of Stalin's Russia, the way that Svetlanov, Kondrashin, Mravinsky, Rozdestvensky, and many others had to. But such is the way of music - it's completely free of politics and other subjective imprints. All one has to do is inform themselves of idiomatic performance practice, use a little imagination of their own, and then somehow communicate those concepts to those who work with them (the orchestra, in other words). This is a great follow-up to Petrenko's equally fine performance of the Shostakovich 8th - an even better symphony, in my book (they're both great).
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Format: Audio CD
I've been bowled over in concert by the highly gifted Petrenko, and his Liverpool musicians are passionately dedicated to him. For me, his best Shostakovich so far has been his revisionist view of Sym. 8, which was mesmerizing in its eerie, sensitive understatement. He applies the same restraint here, not as consistently but markedly so in the first movement, where the letdown in dramatic tension poses a problem for me. The great climax of this long movement, which at 22 min. dominates the whole work (the remaining three movements last 29 min.), is huge and cathartic. But what of the clarinet interludes, which are done so mildly? The soloist plays blandly, and when the Gramophone's ecstatic reviewer declares categorically that Petrenko's is the best recording since Karajan's, I wonder if he remembers the intensity and grip of Karajan's clarinetist.

After this minor disappointment, I sat up for the Scherzo, which Petrenko rips at a fast gallop, although he doesn't aim to make the music snarl in satiric or bitter fashion. Mravinsky and Karajan have little to fear here, yet in his own way Petrenko is hair-raising. The third movement Allegretto ushers us into the problematic second half of this work, risking serious anticlimax if the conductor cannot find a captivating mood for music that is banal on the surface. Petrenko starts off rather neutrally, but his refined phrasing and his ear for orchestral balance serve well as the movement unfolds. The Andante section that opens the finale is very sensitively done, with excellent work by the solo oboe, flute, and bassoon, who must carry everything by themselves against hushed strings in the background - this whole section is one of the most inspired in the Tenth.
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