Symphony No. 1 in F minor, Op. 10
Symphony No. 15 in A major, Op. 141
Symphony No. 14 in G minor, Op. 135
Chamber Symphony in C minor, Op. 110a

If you've ever seen conductor Andris Nelsons in action, I'm sure you've noticed that his gestures and mannerisms are very rhythmic, and so precise and unambiguous as to seem almost mechanical and robotic in nature. But that's a good thing, since so many key segments and passages within the symphonies of Dmitri Shostakovich (1906-1975) are earmarked by a strong forward momentum and pulse choreographed like a military manoeuvre. And it's during such moments that the Boston Symphony Orchestra, one of the best American orchestras in my opinion, sounds like a well-oiled machine. Of course, these impressive 20th century symphonies are also overflowing with deeply profound, bleak, windswept and highly expressive movements and passages during which the resplendent sound of the BSO strings earns its reputation.

Submitted as a graduation exam work when the composer was only 19 years old, the Symphony No. 1 in F minor, Op. 10 already manifests many of this composer's trademark quirks and proclivities, particularly during the moments that convey utter desolation, very well projected here by Andris Nelsons. And despite its cheerfully spurious ending, it's obvious here that Nelsons already sees in it the kernel of the tragic works to come.

How can a symphony with such a devastatingly grim and cheerless Adagio movement, rendered perfectly by Nelsons, as is the Symphony No. 15 in A major, Op. 141 , open with such a light and farcical movement which includes quotations from Rossini's 'William Tell' Overture, and end in a profoundly enigmatic fashion by quoting his very own Symphony No. 4, which following its Soviet regime repudiation, coerced Shostakovich to follow a different stylistic path? Well only a master at merging together emotive and expressive extremes like Shostakovich could pull that off. The BSO percussionists slowly fading away over a bed of strings during the final two minutes is exemplary in this 'live' performance.

Some of the previous releases in this captivating cycle have garnered Grammy and Gramophone awards, for recording quality and performance. I wouldn't be surprised if this one made the cut as well. Andris Nelsons' deep intuitive understanding of what made Shostakovich tick is at the root of his highly distinctive and insightful interpretations.