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SHOSTAKOVICH, D.: Symphonies, Vol. 4 - Symphony No. 10 (Royal Liverpool Philharmonic, Petrenko)

Composer(s):Shostakovich, Dmitry
Artist(s) Petrenko, Vasily, Conductor • Royal Liverpool Philharmonic Orchestra
Period(s) 20th Century
Genre Classical Music
Category Orchestral
Catalogue 8.572461
Label Naxos
Quality   320kbps
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Shostakovich’s monumental Symphony No. 10 ranks among his finest works. From the bleak introspection of the extended opening movement, through the graphic evocation of violence in the explosive Allegro, and the eerie dance-like Allegretto alternating between dark and light, to the final movement’s dramatic climax, this is a work of breathtaking musical contrasts. In 2010 Vasily Petrenko was named Male Artist of the Year at the Classical Brit Awards. His Naxos recording of Shostakovich’s Symphony No. 8 (8.572392), was hailed as ‘yet another Petrenko performance to join the greats’ (BBC Music Magazine).



Good place to start exploring Shostakovich's symphonies
Review By MN88900,January 2011

This is the first of Shostakovich's symphonies that I listened to. I didn't quite know what to expect, but perhaps that's the best way to go about things. The stand out for me was the last movement, which got under my skin in that sneaking-up-on-you manner, especially the slow first half.

If there's anybody else like me, looking for a place to begin exploring this composer's symphonic music, I think this could be it. It certainly worked for me and I am looking forward to my next one.

I will not have to look far, because the sound quality and playing on this ongoing cycle was more than enough to convince me. Mr. Petrenko takes this huge symphony (which can intimidate some listeners) and keeps it going so that it never feels too much for a first time listener. more....

Very good Rendition
Review By LM113812,February 2011

Royal Liverpool Philharmonics does a very good job with Shostakovitch. The recording was excellent.

Review By Max Westler, Enjoy the Music,May 2013

When (in 2008) the British musical press first touted the accomplishments of Vasily Petrenko, the young Russian conductor who had just been appointed music director of the Royal Liverpool Philharmonic, I was deeply suspicious. And when he was scheduled to perform the Shostakovitch Symphony No. 10 with the Chicago Symphony Orchestra as a guest, I decided to see for myself.

Review By Geoff Adams, Otago Daily Times,May 2011

Vasily Perenko’s reputation as a conductor soars higher as the RLPO tackles the most popular of Shostakovich’s symphonies and triumphs again.

This is a terrific performance, further confirming that this Naxos complete set of Shostakovich symphonies so far is very special in terms of interpretation, virtuoso playing and clarity of recording.

It is a monumental work with extended first movement (23 minutes) followed by the brief, explosive and brutal scherzo and then two further long movements.

This outstanding music may be a portrait commentary on Stalin’s iron fists, but it also contains the intriguing element of the Elmira motif, a musical code to the name of a young woman pianist to whom he was attracted.

Review By Record Geijutsu,April 2011

Review By Giuseppe Rossi, Musica,April 2011

SHOSTAKOVICH, D.: Symphonies, Vol. 3 - Symphony No. 8 (Royal Liverpool Philharmonic, Petrenko) 8.572392
SHOSTAKOVICH, D.: Symphonies, Vol. 4 - Symphony No. 10 (Royal Liverpool Philharmonic, Petrenko) 8.572461

Review By David Fanning, Gramophone,January 2011

There’s been no finer account in recent years

Petrenko’s Shostakovich cycle goes from strength to strength, and hardly any of the reservations I voiced over his Eight apply to this profound and passionate account of No 10.

Review By David Hurwitz,,November 2010

This performance goes right to the top. Not since the amazing mono Ancerl recording has there been a version of this work of such intensity, such expressive urgency, and (yes, believe it or not) such incredible orchestral playing. It’s impossible to praise the Royal Liverpool Philharmonic enough: they put their London colleagues to shame. The cellos and basses have a dark, tactile presence in pianissimo not heard since the old Kondrashin Melodiya recording. The horns play the daylights out of their solos in the first and third movements, while Petrenko has the violins sustaining, articulating, and phrasing the climax of the first movement with a passion and grit that’s beyond praise.



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