While it's important to point out that nothing in this collection will be new to Shostakovich fans, this is nevertheless one of the most impressive compilations of the composer's works to be released in recent memory. Many of the performances featured in this nine-disc set have long been accepted as the authoritative interpretations of their respective works. With the exception of the composer's Symphonies, the collection includes nearly every important orchestral work that is worth a listen, with a few small exceptions -- the Suite from King Lear would have made for a nice inclusion, for instance. Part of the big appeal for this set is that until now many of these performances have been out of print for some time.
The first three discs, all previously released on London, feature both the Royal Concertgebouw and the Philadelphia Orchestras, both conducted by Riccardo Chailly. The set begins light-heartedly enough, with the Jazz Suites and First Piano Concerto, and continues with the suites from his lesser-known stage music Cheryomushki and the more familiar Bolt. On the darker side, fans will appreciate the inclusion of both his 1964 film music from Hamlet as well as the earlier 1932 suite.
Previously released as two separate discs on Deutsche Grammophon, Decca includes Rudolf Barshai conducting his own powerful arrangements (sanctified by the composer) of the Third, Fourth, Eighth and Tenth string quartets. The former two are orchestrated for strings and woodwinds, the latter two for strings alone: any elucidation of the emotional power of these works, especially the Eighth (and the lesser-known Tenth) is most likely unnecessary (especially after only a brief hearing). Shostakovich's heart was truly in his chamber music.
Some of Vladimir Ashkenazy's efforts, showcased for London long ago, are also included. His spirited rendition of the propaganda-ridden choral masterpiece Song of the Forests is included, as are the mysteriously experimental Five Fragments and the more accessible Second Piano Concerto. For the Concerto, Ashkenazy confines himself to the conducting alone: Cristina Ortiz is the piano soloist.
The final two discs contain the Violin and Celli Concerti. Violinist Viktoria Mullova and conductor André Previn deliver a passionate performance of the First Violin Concerto; Gidon Kremer and Seiji Ozawa produce an energetic account of the Second. Appropriately, the composer's son Maxim, an unreserved, enthusiastic and emotional conductor, delivers both the Celli Concerti in high drama with cellist Heinrich Schiff, bringing the set to an emotionally piercing conclusion.
Although many Shostakovich fans prefer to pick and choose their favorites, that is no reason to avoid this set: there is not a performance here that is not in some way illuminating. Unfortunately, all nine discs come slotted in individual paper sleeves, an absurd way to preserve this otherwise unbeatable set. Plastic next time, please!