One recent development in the geologically gradual evolution of the symphonic repertory has been the ascension of Dmitri Shostakovich. The composer now routinely appears among the ten most-often-performed composers in the American Symphony Orchestra League's annual list. Not all conductors, though, endorse the notion of Shostakovich's greatness. Chicago Tribune critic John von Rhein just made passing mention of the fact that Daniel Barenboim "avoids conducting the music of Dmitri Shostakovich because he feels it wears its emotions too personally, and on both sleeves." Pierre Boulez has, of course, a long history of dissing DS. In 2000 he said, "Well, Shostakovich plays with clichés most of the time, I find. It's like olive oil, when you have a second and even third pressing, and I think of Shostakovich as the second, or even third, pressing of Mahler." And there's James Levine, who, in a recent Charlie Rose interview, claimed that "he loves to listen to Bruckner and Shostakovich but can't find a meaningful way to conduct their music himself" — a typically roundabout Levine utterance, hinting at stronger feelings. Interestingly, all three conductors are known for their advocacy of Elliott Carter. Does Carter make them sign a waiver before they can conduct his music? The notion that the composer of the massively cryptic Fifteenth Symphony wore his emotions on his sleeve is pretty laughable. It's also a second or even third pressing of the clichéd accusation that critics used to throw at Mahler.