Eleven 11s
9. What
Others Have Said
by David Barker
What others have said
Throughout, I have deliberately avoided referring to the opinions
of other reviewers because this has been a personal survey,
focussing on how the eleven recordings affected me. However,
I think that it is appropriate to include the views of others
by way of comparison. I am not holding my opinions up as being
right, but nor do I say that those of others are more valid
than mine, just different.
Berglund
He scores with his superb control over a very slow (but triumphantly
justified) tempo in the first movement … I liked also
the stricken close to the second movement, the sobriety and
quietness of his third and the hint of a goose-step that he
allows in that brutal finale.
Michael Oliver, Gramophone
Berglund unravels the Eleventh's epic canvas with a keen ear
for dramatic flair and beguiling detail. The engineering packs
quite a wallop, with pulverizing brass and percussion, and
the Bournemouth musicians play as if there were no tomorrow.
Jed Distler, Classics Today
Caetani
There is though much to admire in Caetani’s conducting … memorable
features here, just as there are in Lazarev’s recent
Linn recording, but neither of them quite holds the attention
or burrow as deeply as Kondrashin or Rostropovich.
Colin Anderson, Fanfare
Although the overall impression is of vivid, committed music-making
that will stand repeated listening at home as well as eliciting
enthusiastic applause in the hall, the interpretation offers
neither Rostropovich’s gravitas nor Stokowski’s
warmth.
David Gutman, Gramophone
A creditable rather than brilliant recording, then.
Gwyn Parry-Jones, Musicweb International
If you love this symphony, you'll surely want this recording.
David Hurwitz, Classics Today
Haitink
Haitink and his forces are blessed with some of the most spectacular
orchestral sound I have ever heard on recording. Seriously,
folks, I just don't know how much better than this it can get.
Royal S Brown, Fanfare
In a word, there are a few recorded performances of either
symphony to match these, and none to surpass them in grandeur
of sound.
Michael Oliver, Gramophone
There are deeper levels in this music that Haitink never even
approaches, let alone penetrates
Victor Carr, Classics Today
Petrenko
I am ultimately unconvinced by his reading. It’s as if
he’s conflicted and still not fully decided on what Shostakovich
intended. The result, to my ear, is that of a work in progress.
Jerry Dubins, Fanfare
I recommend it accordingly, and look forward to the continuation
of the cycle.
David Hurwitz, Classics Today
With the Liverpool Phil on top form, responding to every one
of Petrenko’s demands, it is a resounding success.
Bob Briggs, Musicweb International
No want of character, attack or rhythmic definition.
David Gutman, Gramophone
Lazarev
Easily recommendable.
Andrew Quint, Fanfare
A "demonstration disc" if ever there were one. Buy
it, and drive your neighbors crazy.
David Hurwitz, Classics Today
In sum, this is what would once have been called a demonstration
disc, exceptionally well produced and presented.
David Gutman, Gramophone
Lazarev and the RSNO stand up as worthy members of what is
becoming a more crowded assemblage of compelling recorded performances.
Terry Barfoot, Musicweb International
Rostropovich
It is certainly the finest recording of the modern era.
Marc Bridle, Musicweb International
Suffice to say this LSO Live release does little to enhance
Rostropovich's reputation and demonstrates the virtue of leaving
well enough alone.
Victor Carr, Classics Today
I like the risks Rostropovich takes here. If you're looking
for an 11th, why not think big?
Art Lange, Fanfare
Rostropovich pulls tempos around with little feeling for the
music’s structure. I know this is a difficult symphony
to pull off, but-geez, Louise-there’s no excuse for the
mess it has become here.
Raymond Tuttle, Fanfare
Barshai
Another triumph; Barshai redeems this symphony by reaching
beyond the surface cinematography to find the tragic grandeur
just beneath.
Victor Carr, Classics Today
Barshai seems engaged only by the third movement.
Christopher Howell, Musicweb International
From the very rounded muted trumpet sounds near the start to
the huge clangs on the bells at the end this performance did
greatly impress.
Dave Billinge, Musicweb International
Barshai also compels us to look behind the gaudy curtain (almost
certainly erected entirely on purpose by the composer), to
see this work in its true colours: as a "proper" symphony.
Paul Serotsky, Musicweb International
