Chris Bonds:

>.I would like some list help here. If you are familiar with all the
>symphonies of Shostakovich, how would you rank them in terms of
>a) their intrinsic excellence and
>b) their importance to understanding of the composer?

I'd rather group them than rank them, so I'll concentrate on (b) with a
comment or two in response to (a). and a very few performance comments.

#1 stands alone as the brilliant entrance of a young and extremely
promising composer.  It is very much in the Russian tradition, in its broad
melodic sweep in places, for instance, but is clearly a 20th century work,
especially with respect to its rhythmic elements. A favorite work of mine.
Ormandy and Bernstein did this very well.

#s 2, 3, 11 & 12 are his attempts to be a good Soviet composer.  The
only one I listen to at all is #11, the opening of which I find moving.

#s 4 and 10 are powerful works and I anticipate that some will rank them
tops, but I prefer others.  #13 is also very powerful, with vocal bass
solos perhaps reminiscent of Boris Godounov, but with bitingly satiric
political comment.  Another favorite work of mine.  Kamu on Chandos did an
extraordinarily fine recording, with a recording that brings the ambience
of the performace locale.  Kondrashin also did fine performances.

#s 14 and 15 are valedictory, 14 explicitly about death and 15 ending in a
dance macabre after a musical review of the composer's life, as I hear it.
I have not been able to bear listening to 14 a second time, but I keep
hearing new things in 15.  Shostakovich's son has performed it well.

This leaves #s 5-9.  #5 has achieved warhorse status (even four decades
ago, at Lewisohn Stadium in New York, which featured outdoor summer
concerts) the conductor turned to the audience which had been expecting
Brahms First to ask if we would rather hear the Shostakovich 5, and got a
ringing endorsement;  interestingly, the Shostakovich was already on the
music stands).  A great work.  #6 is the sleeper of the set, maybe because
so much of is so slow, but it is one of my top favorites.  Kondrashin is
very good;  I happen to like the late Bernstein recording, which took the
long opening movement veeeery slooow indeed.  #7, the first of his three
(yes, three) war symphonies, is much maligned, and I can do without the
opening and final movements myself, but the middle two movements are
wonderful, to my ears, and I recommend the first Bernstein recording, with
the NYPhil.  #8 is long and powerful all the way through;  not so easy to
listen to, for that reason.  #9 has been much misunderstood, I believe.  It
was "supposed" to be a triumphant celebration of Soviet victory in WWII and
Stalin was less than entirely pleased that it wasn't, I understand.  But it
is not the "light" Haydnesque piece it is sometimes taken for.  There is a
"Johnny Comes Marching Home" jauntiness, to be sure, but the way I heard it
performed once with Penderecki conducting, it seemed a biting commentary on
the millions left dead along the way.

Jim Tobin