I once had a friend, an emigré musician from the Soviet Union, who insisted, "Listening to Shostakovich played by a non-Russian is like listening to a monkey reciting Shakespeare." While he was exaggerating (I think)--there are some fine performances of Shostakovich by Western perfomers, even if they might not strike Eastern Europeans as idiomatic--I wonder if there's not some merit in his claim. The Shostakovich afficionados I've encountered insist, for example, on the superiority of recordings by conductors like Kirill Kondrashin, Yevgeny Mravinsky, and Rudolf Barshai, by the Borodin String Quartet, and by soloists like David Oistrakh and Mstislav Rostropovich. Mention, on the other hand, the symphony recordings by Bernard Haitink, and one will often receive withering dismissals.
I'm not sure how Shostakovich die-hards regard recordings by the likes of Bernstein, Slatkin, or the Emerson String Quartet that have received some acclaim in the U.S. I will admit, though, that some of the Shostakovich recordings I find most compelling are by performers from Western Europe and the United States. (Yes, I even like Haitink in some of this repertory.) Recordings that stick out in my mind include Ormandy's classic account of the Fourth (which, alas, I've not heard in about 25 years, so my opinion today might be less favorable), Bernstein's Seventh with the Chicago Symphony, Previn's first recording of the Eighth (with the London Symphony), and both of Karajan's recordings of the Tenth. I've also been happy with the Emerson's recordings of the quartets, which I actually prefer to the Borodin's. But I've not had that much experience with the Eastern European recordings. Certainly I'm in no position to make recommendations.
I've brought up this topic because I've been thinking about recordings I've heard of the long, often texturally sparse slow movements in a number of Shostakovich symphonies (especially nos. 5-8 and 10). These movements puzzle me. I just don't get them. (I note, however, that the slow movements in the later symphonies, especially 11, 13, and 15 don't pose the same problems for me.) Perhaps I've not heard the performances that will unlock them for me: maybe I need to hear some of the classic recordings by Kondrashin and Mravinsky. Or maybe the movements themselves presume listening practices other than that with which I'm familiar. Are there listening practices characteristic of Eastern European audiences that Western listeners tend not to share and that make works by composers like Shostakovich more challenging? Or it it just me?