One of the best lines I ever heard on television. On the old ‘Law & Order’ program Detective Brisco walks into a music shop while investigating a murder and tells the shop owner (with elevated voice) ‘That music’s pretty loud!’ To which the shop owner reply’s ‘Its Shostakovich! It’s supposed to be loud!’

"It's got to blow you against the back wall..." - I remember this vividly, when I attended a performance of the 'Leningrad' by the Berlin Philharmonic, led by the young Mariss Jansons in June 1992: I sat behind the orchestra (the French horn section, close enough to percussionists). There were only three rows and several feet behind me and the back wall. I was 'im-pressed', literally, and succeeded in getting a ticket for the next night, with the same program. The concert is now available to be re-visited at the Berlin Phil's Digital Concert Hall - but, wonderful to whatch and hear though it is: it never ever can repeat my being blown against the back wall live experience of June 1992.

In philosophy, the 'artist's fallacy' is the idea that once a work of art is released into the world, the artist formally relinquishes any and all right or authority to further 'tell' you what 'their' art means or is meant to represent. That being the case, 'any' listener's experience of the work is just as legitimate a litmus of its 'intent' as anyone else's, including the composer. Were this 'not' the case, it must be concluded that the composer failed what was intended. The degree to which a consensus of appreciation is caused determines a works success at conveying intent. And remember, art 'must' be intentional. Were it accidental, there is no 'conscious' artist to define or take credit for it. Good job David! Great music doesn't need fan boys, it needs scrutiny. Genius is something that springs or sprouts (on sufficient or insufficient occasion) from banality and academic convention. It is not 'always' worth the wait.

One of my favorite Shostakovich Symphonies. I had the pleasure of playing it - I needed ear plugs for the whole performance. Glad you think the Bernstein is the best recording - I agree! I read that the reason why Bernstein didn't cut the 1st movement was because he asked the orchestra whether they should play the whole thing or do the cuts - the orchestra replied "All of It!" Can't wait for your take on the 10th and 11th symphonies.

Wonderful analysis. Shostakovich 7 is one of my favourites of all symphonic music. It was so pleasing to find out that Bernstein's/Chicago is people's faviorite as well. A real treasure.

I will admit that I usually despise the KZfaq algorithm, but today, on a bleak and gloomy Sunday morning in Brexitland, it has offered me you! Apart from No.5, the larger-scale Shostakovich symphonies have frankly daunted me until now, but no longer shall they be avoided! I am fired up by your excellent and energised dissections, and looking forward to immersing myself. Thank you.

I really love your in depth analysis broadcasts as you are doing with the Haydn symphonies. This one was so illuminating it made me want to cry!

Loved the analysis! Didn't realize how much of the development was contained in the opening.

The recording with Leonard Bernstein conducting the Chicago Symphony Orchestra is considered an epic recording

Really appreciated the in-depth analysis!

Wow! Another really absorbing talk. What I love about your talks, David, is the way you explain the musicology of the music question - cas in point, the use of 'that' rhythm. You do it with charm, clarity and without any of the 'bourgeoise' of so many so-called critics. I've noticed over the time that you've been doing your talks on works/recordings that I already have, that you've introduced me to many 'new' versions (recordings) - and I don't just mean YOUR fav. versions, but others that you mention along the way; I've thought as I listened "Mmm, that sounds like a version to add. Must put it on my hit list" Some works definitely deserve multiple versions in one's collection, as there is a rich wealth of excellent and varied interpretations 'out there'. I've often thought that there is a sort of link between Shostakovich and Vaughan Williams; not musically, except that they both bore their souls to the max, in their symphonies, but in that critics, listeners, etc have tried to put verbal descriptors to their work; a dubious and perhaps arrogant practice? I know RVW was constantly annoyed with this kind of thing. I'll shut up!

Another fantastic analysis! One of my favorite symphonies by one of my favorite composers! Dave I can’t tell you how much I appreciate and love your musical “blogs”. Please keep it up. If you ever started to teach musical analysis in an academic setting, I’d love to sign up for your lectures!

this was an awesome video. thanks so much. i love Shostakovich 7th. you have to play it LOUD and with a subwoofer booming. love your videos. do more on Shostakovich please.

This maybe the best video of an excellent channel. Tremendously informative. I've been listening to Ancerl's 7th this past week. Ancerl's jolly rendition of this symphony seemed out of place considering the WWII hellscape I thought this was showing. I enjoy your ideas, it helps to inform my too linear and less informed ideas on this symphony. TY

Thank you to Dave, the conductor, the musicians and the engineers to draw us to this exultant expression.

I adore the Temirkanov recording. Great sound, and he knows exactly what he wants to say with the piece and they just do it right. I wish I had heard it when he did it in Baltimore. That being said, who doesn't love the chicago bernstein recording? amazing.

Thank you so much for this, David! I really enjoyed your in-depth analysis of the first movement. It builds on so much that I've thought about the work. I usually find that after the first movement I'm so exhausted I can't get much out of the rest of the piece. Everything seems kind of anti-climatic and redundant after that.

Thank you for breaking this down for us (me). Sometimes one doesn't know where to start with a piece an hour long piece can be pretty daunting. You make it simple. Now I can't stop hearing "Da-Da...da DOT DOT" Once you point out the trick it helps unravel the whole thing. Definitely a workout for the headphones this one. Really looking forward to the Shostakovitch 11th. I do love my percussion symphonies

Absolutely brilliant analysis. I listened to this symphony a few times, but from your video, I found out really what I was listening to. People say that the 1st movement is like Bolero, I think that it's much better than that. Ravel's work conveys a sense of having fun with orchestral colour, but Shostakovich 7th brings directness of expression and seriousness to the repeating theme. The 4th movement coda is one of those memorable moments in all music, it's bombastic, but ominous instead of happy. From Shostakovich's oeuvre, the Leningrad struck me as being particularly clear and transparent in its emotional expression. And your recommendation of Bernstein/Chicago/DG is an amazing pick. It's 15 minutes longer than your 2nd pick, but Bernstein knew like very few people did, how to get more character in the music by going slower.

Ahh so glad that I found this. Leonard Bernstein is my favorite recording. Such a great story about the CSO to a great story about a symphony. The ending always brings the house down.

So glad you did this piece, David! I've had the Bernstein-Chicago for years, but rarely listen at home.. I became convinced that it's a piece to be heard only in person after attending a Cleveland Orchestra performance in Miami about ten years ago. Unless memory fails, the notes brought up marching Nazis, though! Surely the history of the piece has contributed to that impression. Your analysis has been most enlightening! Happy that #11 is in the works: a piece I'm fond of, and the naysayers be damned!

Thanks for your most enlightening discussion. I confess that I haven’t listened to the Shostakovich 7th for a number of years, but will have to again soon. Bernstein’s Chicago recording is the only one I have and quite enough for me! If I were to add another, it would probably be Petrenko’s because I really like his way with Shostakovich and have his recordings of most of the other symphonies.

the first recording i listened to was sanderling with the dresden phil and it’s kinda stuck with me since, not because it’s the ultimate recording but because i am too lazy to find a favourite. I’m definitely gonna give these suggestions a listen, and i also loved hearing you talk about the symphony as it is probably my favourite shostakovich symphony. i recently purchased the book “symphony for the city of the dead” and am excitedly awaiting its arrival😩

"I guess the critics will yell at me for copying Ravel's bolero. Let them talk. This is how I heard the war." Dimitri Shostakovich

I also heard Bernstein conduct this, but in Chicago at Orchestra Hall. Though I think Bernstein is too indulgent with Shostakovich, I did enjoy the performance - it worked in spite of the conductor (I recall John von Rhein calling it the "Lenny-grand" Symphony). But my top pick has to be Svetlanov on Melodiya. At times his tempos do push the limits, I still feel the frenzy of war (or Stalinism, if the biography is accurate). The Adagio and especially the extended coda of the fourth movement make this work - I feel like a survivor seeing the carnage realizing surviving is the only victory (I know the battle was far from decided when the music was written). For a two day tour of St Petersburg, I brought Svetlanov's recording and listened to it over and over as we stopped a different sites in and near the city. It was surreal. Svetlanov is the only one that makes me feel this way.

I listened to excerpts of this work from various “best of” CDs when I started getting into classical. The Neeme Järvi/Scottish Chandos recording is the first time I heard it in its entirety! So yes, the Järvi/Chandos is what imprinted on me when it comes to Shostakovich's 7th.

Couldn't agree with you more regarding the Neeme Jarvi reading. Wonderful! We loved him here in Detroit, and we were so sorry when he left. I have to brag a little about the bobblehead I have of him, which he was kind enough to sign for me (NEEME, in big letters across the bobblehead's forehead :)

Oh boy oh boy oh boy, what a precious gift to start the day with! Shostakovich’s 7th is tied with the the 4th for my favorite Shostakovich symphony, and they’re both in my favorite five symphonies by any artist. As you say, much ink has been spilled on the subject of what the 7th “actually” means, and as a certified Shostakovich nut, I’ve read nearly all of that ink. Nonetheless, it is a useful exercise to occasionally, you know, listen to the damn music. It is glorious. I could probably name a dozen prominent and obscure 7ths people should listen to, but I’ll (mostly) confine myself to saying that of the recordings you make here, Jarvi’s blistering performance simply must be heard to be believed, wild, wacky, and wonderful. Bernstein with Chicago deserves every ounce of its fine reputation. It is a psychologically overwhelming experience, one of the most moving things I’ve ever heard recorded. Since you mentioned the various boxes out there in passing, I’ll cheat a bit and suggest Maxim Shostakovich and Kitajenko as standouts. Finally, an old Russian favorite that isn’t well recorded: Svetlanov with the USSR Symphony Orchestra. Acoustics are not great, but I have the old double LP and I love the angry brass growling and mixing it up with the other sections. Is it the best performance? Certainly not, but if you love this symphony it’s worth hearing. OK, one more great and very Russian perspective is Kondrashin with the Moscow Phil. Terrifyingly powerful.

This symphony makes me feel alive

Wow! That tam tam, gets to me, every time I hear you sound it! I think Neeme Järvi has to be my favourite, closely followed by Jansons, & Barshai,. I’ll have to get Petrenko’s. Also, Bernstein!

Thank you very much. The only one of those I have is the Lenny/CSO and it is such fun!! I once had a Czech Philharmonic recording, but the sound reproduction was very bad. You could tell they were playing well, but the mics were probably wrapped in thick wet blankets. Pity for that one.

Thanks for your wise interpretation. Shostakovich is one of my favourite composer. His music is one of the mist enigmativ and tortured music reflecting his age and the Horrible psychological and physical conditions of life, while he had to be painted something different.

Thanks for this review....I live in Liverpool and last night heard the Leningrad performed by the Royal Liverpool Philharmonic Orchestra conducted by Vasily Petrenko....I'm not able to analyse the music the way you can but what I felt was pain and sorrow, as I do about the current situation of conflict in Gaza/Israel

I listen Berlioz' Requiem for its Sanctus : the tenor (hopfully a very very smoth one), chorus and the soft cymbal touches !

Thank you Mr. Hurwitz for another great repertoire review with the bulls eyes choices, which makes me smile over my recent pick up of the Järvi/Chandos recording at a second hand "64 Cents a title" sale. And let me top up with another Järvi/Shostakovich/Chandos recommendation: Violin Concertos 1 & 2 with Lydia Mordkovitch. Wow!

I enjoyed the Leningrad phil and M.Jansons alot, both the recording and the live performance they did in Helsinki in the 80s...something really original in that sound of the orchestra then

Finally it has arrived! One of my most favourite symphony, propaganda be damned. Great video dave, i will surely try hearing your recommendations.

Fascinating talk, thanks. I think the 7th works at best in concert. I saw the late Mariss Jansons playing it Montreal and it was spectacular. In the first movement, the circulation of the theme in the first movement was really impressive. I was feeling as being on an agitated sea, the theme going left to right, forward, backward, up and down. I never feel that way while listening to the symphony on my system (which is fairly good), and certainly not in the Jansons' recordings ! I am glad to see Temirkanov, I don't know his 7th but I like many of his Shostakovich, in particular the cello concertos with Natalia Gutman. Mr Hurwitz I know your favorite version is the one by Heinrich Schiff, but you should do a video about the cello concertos !!

I imprinted on Jansons many many years ago… I love this piece.

Thanks

I read in the liner notes for String Quartet #6 that there was some sequential repetition that went on longer than the harmonic framework for for it that represented the idle chatter of the government leaders. And when I heard the passage I didn't have to read in too much to get the meaning of the calculated banality...

I once started a novel that was to be based on Shostakovich's Seventh. For each minute of music there were to be around 1,000 words. The first movement went to 29,400 words. I sent it to my muse, hoping to stir up some doubt about her future wedding with somebody else, only to get the manuscript returned to me unopened. I was unable to write the other three movements and never inquired about her ever again. Infatuation can make you do stupid things. It was fun nonetheless.

The passage at 14.23 always reminds me of the Intermezzo from the Bartok Concerto for Orchestra, six bars after fig 92 in the score. They're also both in E flat at that point. I wonder whether Shostakovich was conscious of that. But this work bores the pants off me; give me the Eighth any day.

Legend has it that Kousevitzy made Béla Bartók listen to this Symphony on the radio after which Bartók wouldn't utter a word - but later, he would possibly show how he could out-shostakowitch Shostakovitch with his Concerto for Orchestra and the infamous citation of the Leningrad Symphony in the "intermezzo interotto".

My Classical “library” has two shelves of Shostakovich; I originally purchased the CDs to build a collection, yet never took a single recording off the shelf until today. I actually have Bernstein’s DG “7th”, and … wow. It’s like listening to a controlled demolition, except the symphony remains, but your ears are scrambled. So glad you did this video - time for me to enjoy more Shostakovich (finally).

Makes me want to listen to all my recordings. I would need to call in sick for that though.

I love the Bernstein CSO DG account. For one thing, it is complete. It is even better than the NYPO account, with its inexcusable cut you mentioned in the video (approximately 10 bars cut). He brought out the Mahlerian qualities that no other conductor could in this recording.

The Temirkanov recording was the very first recording I ever heard of the Leningrad. I ended up falling out of love with it later on. But then, I got Bernstein and fell back in love with it again.

While on the topic of Shostakovich, I thought one day you might like to do a video on timpanists and symphonies with great parts for timpany. Shostakovich must be a timpanist's dream. There is a YT clip of Paul Philbert going crazy with the timpany on The Leningrad Symphony with the Malaysian Philharmonic Orchestra. Come to think if it, you might also like to do a clip one day on not--so-well-known orchestras around the world deserving of more attention.

The fact, that the thematic material of the evil development is completely derived from the "happy" beginning proves, that the evil could not come from an enemy outside, this evil has been always incorporated there in the society around Shostakovich. It could happen anywhere, anytime, that the evil in the mankind manifests itself in a very brutal way and than seems to vanish again and everything seems to be fine.

I enjoyed that "discussion" a lot. Thank you. I agree that the nazi versus the commies stuff trivialises the music - as I also think the poor-suicidal-Tchaikovsky story banalises the Pathétique - the music per se is to me both much simpler and more complex as such. My first experience with Shostas no. 7 was an unforgettable performance with Sanderling - I remember being swept away by an icy and moving third movement but as I did not know the work then I could not tell whether it was shortened or not. How I treasure the memory of that concert. Thanks again for many interesting videos! Keep on sending.

You didn't mention it, so I assume it falls into the "good-not great" category, but I remember Masur/NYP really surprising me in this (and the 13th) on Teldec... Surprising me in a good way with more emotion, energy and sharper teeth than I would have expected. Maybe I shouldn't have been surprised because all my favorite Masur/NYP discs are of non-german core rep which is what he was supposedly there to do with them. Jarvi remains my favorite here. Thanks as always Dave.

I was just down some reading. The Berglund/Bournemouth recording was mentioned by DH. Considering when the 7th was composed (1941-42) I was surprised that the Berglund was the first time it was recorded in the UK.

How do you feel about Haitink’s Shostakovich 4 with the CSO? I think it approaches LB’s version of the 7th in impact.

Dear Mr Hurwitz: Magnificent as always. That analysis of the first movement is wonderful. I am glad that there is this channel of yours. I own three of your recommendations (listened to Bernstein conducting this at orchestra hall and that was an experience that will remain for the rest of my life). I have long wanted to ask some one like you about the entire controversy surrounding Toscanini's performance of this. I find it hugely musical and have often returned to it after listening to other versions as part of a "cleansing" ritual!. The middle two movements have this languid pathos and melancholy (the bass clarinet is wonderful with that "burr"). I am told tat there a a few errors and sufficiently Russian. Of course the sound is atrocious in some places. But as an interpretation is it bad? Hari

A surprisingly good S7, played quickly and classically, is Kegel in Leipzig on Weitblick, rec. 1972. First two movements even faster than N. Jarvi but it works.

I would add one more performance to your list, David, and that's Svetlanov's 1968 recording. No, it's not well recorded, but it's the only performance I know that conveys that raw, relentless terror that must have been present during the Leningrad performance, in the middle of the blockade. BTW, as an aside, I always find an interesting parallel between Soviet-era composers who kept having to invent creative ways to get around state censorship, and Hollywood filmmakers of the same period, who had to find creative ways to get around the Hays Code, and the general limitations the studios put on them. Hitchcock was famous for doing that.

I owned the old Ancerl/Czech Philharmonic on a Parliament LP....can't remember it..How was it?

Hi dear dave.i feel the rimsky Korsakoff operas,are not much known or generally apriciated as they should...the gergeiev box offers some delightful music,almost unknown...is it a bad idea to give them a short survey?

And have you listened to the Alexander Sladkovsky recording on Melodya which Christophe Huss has strongly recommended?

Jansons and the Concertgebouw should be mentioned too as it's the most musical and dignified performance of this piece out there (but without being underplayed or lacking in impact).

YES - I hear what you say.

There is another recording by Paavo Järvi with RNO on Pentatone. Sounds good to me.

Hi Dave! What do you think of The Mravinsky recording from 1953?

Kondrashin!

The Bernstein/CSO seems to have a hate it or love it following. The brass is absolutely amazing and I love the key change in the march and haven't heard it done better. However, it is SLOOOW. He really milks the slow parts too. Ashkenazy feels a bit more balanced to me. My favorites: Ashkenazy/Kondrashin (percussion really grooves in this one)/Berglund/Jarvi/Jansons

Hello Dave, Although the 7th is not my fave of the DS output, I have enjoyed this video (as I do with all of your vids) immensely. I’m desperately trying to buy your book about Shostakovich and I’m finding it difficult to find a new copy and one that doesn’t cost a bazillion Shekels on Amazon. I want it! How do I get it? Thanks, Noam

I am very grateful for DH's analysis of the music. I've got 8 recordings of the symphony, but I lack the ability to identify the way the themes build on one another. I learn so much from these videos! But I am more uncertain when it comes to ascertaining the meaning of the music. Glenn Gould commented that Beethoven's fame was based crucially on the drama of his biography. That strikes me as quite wrong, but it may be true of Shostakovich. Heard as searing testimony, his music has a power that it might not command as "pure" music. But I am a historian, so I am riveted by it. Elizabeth Wilson's biographical compilation _Shostakovich: A Life Remembered_ notes that Shostakovich was evacuated from Leningrad on October 1, after a month in the besieged city (p. 148). He took with him a score containing the first three movements of the symphony, which he completed at the end of December of 1941, after a hellish journey to Kuibyshev. Several witnesses testify that Shostakovich cautioned against identifying the symphony solely as a condemnation of Nazi fascism (sometimes clearly connecting it to Soviet totalitarianism), but the Nazi invasion of the Soviet Union is an important component of this music, I think.

Thanks for your thoroughly level-headed comments about the 'meaning' of this symphony. Like you, I think the remarks about this music in Testimony ring true. No quibbles with your top 5 and I'm pleased you included the Berglund. You mentioned Barshai only in passing but I think his version is very good. My other vote would be for the recording endorsed in an earlier comment by Mr Murray, the Kondrashin. The recording is not at all bad (maybe a little boxy); the performance is right on the money. Just to pick one detail, the flutter-tonguing trumpets at fig.49 of the first movement - wow!

Dave, I think I might have an answer as to why Bernstein used the cut version of the Symphony #7 when he recorded it in New York . His recording with the Chicago Symphony of the uncut version of the Symphony was 85 minutes long - too long to fit comfortably on 2 LPs back in the early 1960s. Does that sound plausible?

Really thanks Mr H - explanation of meaning through analysis rather than dubious conjecture. It's almost trite to say that ridiculous ostinato just represents the advance of the German army. Actually you could argue the first movement is about useless destruction by two political ideologies essentially cut of the same cloth. Although Bartok beautifully lampooned it in his Concerto for Orchestra, the work itself in it's entirerety is ultimately very moving.

I have been listening to "classical music" or, "concert music" for nearly 70 years now. This long absorption has made me even more convinced about the silliness of "interpreting" music, such as saying the first movement of the Shostakovich 7th is describing the Nazi army marching toward Leningrad, or about Stalin's oppressive menace, or about the evil of war or violence toward humanity in general. It's all of the above and more, much more. As an artist, Shostakovich would have been influenced by any of the historical (read: temporal and specific) human events, just like any other human being of a certain time and place would, but the creative process inevitably transcends all these temporal concerns to come up with the work that transcends the here and now to become something universal. In short, trust the art (music), more than the artist or events behind it. Listen to the music, first and foremost. Know about its composer and the historical background (if available), if you like, to have some "perspective" of the creation, again, if that can increase your appreciation of the created work. Fine. No point arguing that, say, a certain painting is about a horse; some would argue it's about a donkey; another would bet it's a devil in disguise. It's all and none of the above; it's a piece of creation. Like it, enjoy it, or hate it, but please try not to argue it is (or is not) about this or that. By the way, the so-called "program music" is another matter that is beyond the scope of my brief take on "interpreting" Shostakovich 7th.

The "musical prostitution" concept can be found in his 9th. Instead of an apopheosic triumphant heroic ballade the "music of drunkards in the bar" takes place. Shostakovich would be really executed for that.

My first ever Shostakovich was the 7th by Bernstein. I think i got 3 or 4 version of that Symphony and to follow your recommendation i got the Jarvi version. You got fast, very fast and there is Jarvi. Holy Christ, it's Shostakovich on crack cocaine.

Outstanding, thank you! What, no mention of Toscanini? (Haha! Shostakovich was appalled by that performance.) Can't wait to see what you have to say about the best Shostakovich 5th!

These classical music stations around the U.S. should put Dave's shows on the radio - like what Marian McPartland did for jazz. Dave is the consummate professional quality and FUN!

Nevermind Shostakovich 7: the Bernstein/CSO recording is one of the best-executed recordings of any orchestral work ever.

Very best sonics: Kitajenko !

Your tam tam gave me shivers. Amazing! I'm surprised you didn't mention that the so-called "Russian army" music briefly morphs into a quotation from Tchaikovsky's 5th.

heard Jarvi with the RSNO in Edinburgh a good deal later than the recording and it's the most stunning performance I've ever heard overall and quite likely the best I ever heard from this conductor live. I agree also that Bernstein is very fine in most parts. The correct pacing in the finale is an absolute nightmare with most conductors creating a shambles -- here Svetlanov is miraculous by not putting a foot wrong. And I don't mind the rough Russian recording in this case but Svetlanov does at times lack repose where it's needed in the first or 3rd movements. I haven't yet heard the ideal recording of what I think is actually an underrated work, all its notoriety aside.

David I too heard Temirkanov live with the Leningrad...was blown away ! Hurt my back hitting the rear wall ...sorry I didn't wave to you. You are right...even the "unison "Soviet" bowing was memorizing.....besides Bernstein, I think only Mravinsky live or in good sound would be on a short list ...Berglund was a sonic blockbuster in analog days (UK pressing only)

Brilliant analysis of the first movement! I love this symphony as it has so many atypical for Shostakovich beautifully done melodic lines. Not other of his symphonies has such expanded, yet sophisticated themes as, for example, the second subject of the first movement. The moderato and begining of the finale are, as well, smart and captivating. Regarding the finale, I like rather unpopular interpretation by Eduardo Mata, he's probably the only conductor who didn't rush the tempo in 'scherzo' to the point where the music turns to mess (though maybe Shostakovich meant that?) Also, fine that you mentioned Nielsen. I wonder if Shostakovich had ever heard his music, they definitely have some similarities. The begining of the 7th reminds me the initial bars of Nielsen clarinet concerto. They both use allusions to war and snare drums even if it's more of a cliché. And the biggest mystery, what's happened to their last symphonies, they both started with glockenspiel solos, though Nielsen did it 50 years earlier.

I have to admit I am still having tremendous problems with Shosty symphonies. I like his concertos,string quartets. I like and can listen to the 4,5. I bought the V..Petrenko cycle just to have the whole thing. I have the stereo Ormandy recordings. I think the Shosty symphonies are just too long. But I will keep on trying to listen.

I return to this worthiest of all videos to sing the praises of a sleeper: Herbert Kegel live with Leipzig in 1972 on the Weitblick label. Listened to it this morning on Qobuz and it is absolutely fantastic, full of punchy, pulsating, modernist, Leninist vigor. Highly recommended to those who stream; physical product is hard to source but most streaming platforms have Kegel’s take on the 7th.

I always thought the march in the first movement was the Russians getting their act together 🙈

I rather like the Ancerl/Czech Phil recording, but it's sonics admittedly are not ideal.

Is the Bernstein NY Phil recording a good alternative?

I put the Bernstein/CSO on, but I had to pause it to go somewhere. While driving Brahms #2 by Muti/PO was on the radio. It’s a gorgeous recording. After that I just couldn’t resume Shostakovich! Later tonight perhaps. BTW, my local station was celebrating Muti’s 80th birthday.

Shostakovich playing bits of it on piano is zippy.

What do you make of Bartok's mockery of that trite march tune in his Concerto for Orchestra? Did he despise Shostakovich entirely, or was he just unable to resist making fun of the 7th? It doesn't sound as if Bartok thought the triteness might be purposeful!

I understand the soundness of your argument at circa 22:05. However, I am not a scholar, only a classical music lover and have always viewed that first movement as a portrait of the general stupidity of the masses all over the world. I do not think that Shostakovich was so aware of the Stalinist atrocities at the time but, possibly, he sensed that the same wicked political manipulation of the fascists in Western Europe was mirrored in the Soviet Union. This is politics and I would understand that you removed my comment, but political regimes of many kinds have arguably always been based on simple, small slogans (little tunes?) in which citizens are told that their problems were caused by 'you-name-who-you-hate'. I think that possibly the whole development section tries to depict that concept applied not only to soviets or nazis (or world wars), but to politicicians everywhere when they point at your 'enemy' for you to hate him, or when they hoist stupid concepts for the masses to do their job for them (to charge unarmed against the enemy lines? to starve yourself to death in a soon-to-be-occupied city? to fight your neighbour in a civil war?) What I do not understand is the function of the adagio and the finale. Must the ending must be taken as hope, really optimistic hope? Anyway, this is my favourite Shostakovich symphony.

One critic characterized the opening of the symphony as powerful but "stupid" music, its uncharacteristic unison writing seeming to evoke an unthinking herd.

"Fight over nothing" and "mindless aggression" are perhaps the profundity of this symphony as a response to WWII, the siege of Leningrad, to Stalin and Hitler... using simple musical forms and silly materials to achieve that profundity is Shostakovich's genius.

The 1st movement is indeed pure sarcasm.

This is the one Shostakovich piece I absolutely refuse to listen to. The last time I tried I got an earworm of that stupid march that stuck with me for a couple of days. Bah!

Call me a heretic, but for me Shostakovich 12 > Shostakovich 7 .

"It's got to blow you against the back wall. It just has to." Exactly! And yes: The Järvi is the best!!! Oooops. Nope. The Bernstein is actually the best. Damn. They are both the best but SOOO different. I think I prefer the Bernstein slightly, because in general conductors play classical music at too fast a tempo. Bernstein's tempo is perfect throughout.

Shostakovich often wrote bad music to make a non-musical point. Probably too often.