Dmitri SHOSTAKOVICH (1906-1975)
Cello Concerto No.1 in E flat major, Op.107 (1959) [27:37]
Mstislav Rostropovich (cello)
Philadelphia Orchestra/Eugene Ormandy
Violin Concerto No.1 in A minor, Op.77 (1947/48, rev. 1955) [36:37]
David Oistrakh (violin)
Leningrad Philharmonic Orchestra/Yevgeny Mravinsky
rec. No details given only: recording first published in 1959
(cello) and 1960 (violin).
REGIS RRC1385 [64:14]
It was the score’s dedicatee Mstislav Rostropovich who
premièred Shostakovich’s First Cello Concerto in October
1959 at the Leningrad Conservatory with Yevgeny Mravinsky conducting the
Leningrad Philharmonic Orchestra. Shostakovich spent the summer of 1959
composing the four movement concertowhich is said to be one of the
most difficult works in the cello repertory. A bold four note motif is
employed; one very similar to the composer’s DSCH motif used
extensively in a number of his works. On the cello this motif opens the
first movement Allegretto and is prominent throughout. Shostakovich
had used the term “a humorous/jocular march” to describe
the movement’s character but the writing feels more sardonic than
that. Rostropovich maintains a high intensity and dramatic tension
throughout. I love the animated woodwind calls that punctuate proceedings. A
substantial Moderato feels like a chilling and unwelcoming landscape
laid to waste. With starkly beautiful playing a dark, austere and deeply
reflective intensity is maintained. Marked Attacca the Cadenza
could easily depict a grave scene of human hopelessness. Playful or mocking,
depending on how one views it, the final Allegro con motto is a romp
full of nervous energy. Over bawling woodwind and blazing brass the cello
digs deep for what seems like the majority of the movement. In the
Coda that bold motif defiantly recurs in the woodwind and then the
horn. Rostropovich rises splendidly to the challenge with the adept Ormandy
holding everything splendidly in place.
As a first choice I find it hard to look elsewhere than this
outstanding account. However, there are also a couple of other valuable
performances of the First Cello Concerto. In 1984 at the Hercules
Hall in Munich, Heinrich Schiff was recorded in a version that shows both
precision and passion. He is accompanied by the Bavarian Radio Symphony
Orchestra under the composer’s son Maxim Shostakovich on Philips 475
7575 (c/w Cello Concerto No.2, Op. 126). I also hold in high regard
the colourfully expressive account by Mischa Maisky and the London Symphony
Orchestra under Michael Tilson Thomas. Maisky made that recording in 1993 at
the Abbey Road Studios, London and it can be heard on Deutsche Grammophon
445 821-2 (c/w Cello Concerto No.2, Op. 126).
Shostakovich had already written his Concerto for Piano, Trumpet
and String Orchestra in C minor (1933) and was over forty before he
composed the three movement Violin Concerto No.1 in A minor. This was
his first string concerto and it was completed in 1948. Those immediate
post-war years were a time of strict censorship for composers in Soviet
Russia. Consequently it was consigned unpublished to the drawer. In October
1955 when he thought the political climate sufficiently improved
Shostakovich had the score premièred by the renowned soloist and its
dedicatee David Oistrakh with the Leningrad Philharmonic under Yevgeny
Mravinsky. Well received at its première ithas become
acknowledged as one of the finest of the twentieth century. The opus number
of 77 was altered to 99 at the publication of the full score in 1955,
however, the original opus number has now been restored. Shostakovich again
uses his DSCH motif prominently. With the violin playing almost continually
the four movement score opens with a Nocturne (Moderato). This
is a most disconcerting and mysterious opening with Oistrakh asserting a
spine-tingling atmosphere straight away. It’s powerfully desolate,
bleak and extremely tense; nerve-shattering stuff. In the resolute and
demonic Scherzo (Allegro) Mravinsky builds weighty orchestral
climaxes of real emotional impact. Oistrakh’s brisk and committed
playing feels perfectly in accord with the orchestra. Making an appearance
in the Scherzo is that motif. Probably the most notable movement is
the profound Passacaglia. This develops from an ostinato
figure emanating from the cellos. In music that has been said to serve as a
requiem for victims of the Stalinist regime Mravinsky with sinister grandeur
conjures a granitic power. As if his instrument was crying deeply Oistrakh
plays an extended, exposed, potently mournful, song. The Leningrad orchestra
responds with an appealing if somewhat incongruous melody. Mravinsky
tightens the screw and the sheer declamatory power of the orchestra becomes
almost unbearable. Oistrakh plays a demanding cadenza that is
progressively disconsolate, introverted and unremittingly rhapsodic. The
solo line becomes less melodic, increasingly disgruntled and more frenzied.
Following straight on the Finale, a Burlesque (Allegro con
brio) is forceful and boisterous. I love the recurring memorable but
spiky motto theme. The concerto ends abruptly on a wild and breathless
note.
In the case of the First Violin Concerto,for playing
which is beautiful, dramatically intense and extraordinarily exciting I have
to give the highest possible praise to the 2006 Munich account by Arabella
Steinbacher. She can be heard with the Bavarian Radio Symphony Orchestra
under Andris Nelsons on Orfeo C 687 061 A (c/w Violin Concerto No.2,
Op.129).
Regis is the master of reissues at super budget prices. They would
inspire more confidence if they were to provide more detailed information
about the origins of the performances. Although occasionally a touch muddy I
found the sound of both recordings more than acceptable for their age.
These excellent Shostakovich performances from Rostropovich and
Oistrakh are a snip at the price.
Michael Cookson
A snip at the price.