Mark Wigglesworth recorded his cycle of Shostakovich’s symphonies between 1996 and 2010, collaborating with two different orchestras, the Netherlands Radio Philharmonic Orchestra and BBC National...

Mark Wigglesworth recorded his cycle of Shostakovich’s symphonies between 1996 and 2010, collaborating with two different orchestras, the Netherlands Radio Philharmonic Orchestra and BBC National Orchestra of Wales. In spite of the long gestation and the change of orchestra midway, the cycle was described as one never ‘compromising its particular characteristics of high seriousness, fine detailing and a certain fierceness of articulation’ (Gramophone). Already the first instalment – Symphony No. 7, ‘Leningrad’ – raised expectations, for instance with the reviewer in The Sunday Telegraph: ‘There is plenty of competition among Shostakovich cycles, but this one will deserve serious consideration.’ And 17 years later, on the release of the final album, The Guardian could report that ‘Wigglesworth's cycle emerges as one of the finest of recent time’. What particularly impressed reviewers was Mark Wigglesworth’s faithfulness to the score and sharp ear for detail, and the structural clarity he achieved even with the most complex works – without sacrificing any of their impact and emotional power.

Excerpts from reviews ofpreviously released volumes included in this set:

Shostakovich: Symphony No. 13, "Babi Yar"

This is outstanding in every way. You only have to hear the violins’ slashing accents at figure 4 in the first movement, where the soloist sings “and fine ladies with their lacey frills shriek and poke their parasols in my face,” to know that Wigglesworth & Co. are fully attuned to the music’s expressive world. The menacing second subject, with its description of a pogrom, erupts with an impressive sense of menace, while the big climaxes in the first, third, and fourth movements are as powerful and intense as anyone could ask. Bass soloist Jan-Hendrik Rootering has the range for the part and an evenness of tone unmatched by most Russian singers, while the men of the Netherlands Radio Chorus sing as though their lives depended on it, with a genuine understanding of the words.

– ClassicsToday.com (10/10; David Hurw1tz)

Shostakovich: Symphony No. 11

Shostakovich’s Eleventh Symphony has fared well on disc, even on SACD. It doesn’t ask for much more than great playing and sound, and an interpretation that keeps the music flowing and lets the climaxes achieve the necessary intensity. Mark Wigglesworth certainly delivers in this respect. If you’ve been collecting this series, which has developed handsomely over the years, you can purchase this release with complete confidence.

– ClassicsToday.com (David Hurwitz)

Shostakovich: Symphonies Nos. 1 & 15

The performance of the First Symphony gets better as it goes. The first movement, crisp and clear though it undoubtedly is, lacks that element of exaggerated humor that it ideally needs—it’s a function perhaps of less than characterful woodwind solos combined with a slightly low-level recording. The scherzo, swift and pointed, also could do with more devilry, but the Lento movement and finale remain impressive on re-hearing.

The Fifteenth Symphony features an interesting interpretation, deliberate and deadly serious even in the lighter moments, rather like Sanderling’s for those of you who know it. The performance makes an imposing conclusion to a cycle that, quietly and without much fanfare, ranks among the best.

– ClassicsToday.com (David Hurwitz)