Customer Reviews

Shostakovich: Cello Concertos Nos. 1 & 2

5 star:		(4)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

According to the Gramophone, the only competitive pairing of these two concertos comes from Mischa Maisky (DG). Rostropovich (Sony) remains the premier proponent of the first concerto, and Wispelwey (Channel Classics) has released another remarkable version. I would probably rate Maisky a good third choice and put Schiff in fourth, in order of my preference for these recordings.

This is not to say that Schiff is in any way an inferior cellist. His unique sound recalls the white-hot vibrato of legendary violinist Jascha Heifetz, and lends a great energy to his performance. Indeed, Schiff seems to share a few interpretative ideas with Heifetz, who also allowed music speak for itself more often than risking "over-interpretation". This approach works particularly well in the moderato, which in Schiff's hands carries more forward momentum than in any of the other mentioned recordings.

On the other hand, his cadenza is the most boring I have ever heard. Before I acquired Schiff's recording, I had considered Rostropovich's cadenza to be very straight-forward (though nevertheless excellent). But Schiff's adherence to metronomic rhythms is truly quite puzzling, especially in contrast to the vivacity of his solo Bach.

I have no such quibbles with the second concerto. In this more symphonic work, Schiff feels a bit less stiff. The larger-scale orchestral writing comes across as better balanced with the cello than in the soloist-heavy first concerto. It flows very organically through a wider range of dynamics and orchestral colors, and the soloist and conductor seem to be of one mind. Again, this recording seems charged with greater momentum than its competition from Maisky.

So, all told, we have a very fine first concerto and a definitive account of the second. The recorded sound is slightly lacking in low-end impact, but sounds just fine if you turn up the volume. Complement this with either Rostropovich or Wispelwey in the first concerto, and you will have the full measure of both concertos - the two finest works dedicated to Mstislav Rostropovich, and two of the greatest cello concertos ever composed.
4.5/5

The overall rating of this superb set of Shosty's Cello Concertos has been reduced by a ridiculous 3* rating, which was a 'quoted review' from an opera site - Amazon should really delete this entry from the comments on this recording. Heinrich Schiff on the cello & Maxim Shostakovich conducting were likely the first to put these two works together onto one disc; recordings are from 1984 but the re-mastered sound is superb; I've always loved Shosty's first concerto (and own No. 1 w/ Rostropovich + Ozawa), but am at the moment listening to No. 2 and may even prefer it to the other - will need a few more playings for me to decide! :)

Now to further justify my 5* rating, I can only quote others with better credentials than mine who have rated this performance. David Hurwitz of 'ClassicsToday' gives the disc a 10/10 rating for performance and sound, and especially loved the interpretation of the second concerto; the newest Penquin Guide (2009) rates this a 'keyed' performance w/ 4* (one of their top ratings); finally, the price of the CD is a bargain, so if you want both of these 'Cello Concertos' on one disc, this is certainly one of the best choices!

The Shostakovich Cello Concerto #1 has enjoyed many fine recordings, going back to the American premier under Ormandy with Rostropovich (Sony) almost fifty years ago. This reissue of the reading by Heinrich Schiff has a lot going for it. The close-up recording of the soloist is backed by natural, dynamic recording of the Bavarian State orchestra--evey detail of the wind solos, particularly the horn, is caught beautifully. Schiff's way with the music is propulsive and intense; his tone is wiry and edgy compared to Rostropovich, but whose isn't?

I've heard consderalby better conducting than what we get from the composer's son, Maxim. Tilson Thomas with Maisky (DG) and the relatively unknown but riveting account from Richard Tognetti and his Austrailian Chamber Orch. with Dutch cellist Peter Wispelwey (Channel Classics) make this version sound too relaxed. Also, not every rival comes with the tough, late Cello Concerto #2, which is by turns gloomy and puzzling--a hard listen. But it must be said that soloist and conductor try to make it as exciting as possible.

Those are the ideal performances for the two cello concerti. Schiff's playing
is brilliant and crystal-clear and the composer's son conducting brings us the
best way to know the original conceptions of Shostakovich on his works. Those
are perhaps a bit cerebral and very modern-style performances, less romantic
than Rostropovich, but with no doubt remark the epitomes of the 20th century
cello concerto. This is a Shostakovich essential recording and recommendable
even for anyone who want to own just one version of those concertos.

The Shostakovich First Cello Concerto is one of the musts in the cello literature, at least for me. This recording carries it off quite well. But quite a different soundscape greets the listener in the Second, a concerto full of mystery and interest. If anything, I now find myself turning back more often to the Second.

From the Philips Classics catalogue, we get this rather interesting 2006 eclectic CD offering that varies between modernism and traditional sound in two concertos (No.1, op.107 and No. 2, op 126). If you like the cello, which I do, it's hard not to like the pure sound of this wonderful instrument, as opposed to what you might think about the scoring itself: i.e., do you like the music? In this regard, listening to this CD is like viewing art: it either says something to you on a different level from what is before you, or it doesn't - and everyone sees and hears something different, depending upon a whole host of outside factors that are not in the recording itself, but in one's mind instead. The cello is an instrument that is used best when it comes to conveying a mood with its brooding sound, its ability to conjure an ominous threat. It is the equivalent to the dramatic baritone or bass-baritone in a Verdi opera. Here, we get in the various parts: allegretto, moderato, cadenza, allegro con moto, largo - a swing in sounds that might make good background music in a complex drama. The music tells you everything and nothing at the same time. It opens with unremitting momentum, in the first cut: "I Allegretto," but then for the remainder of this CD, the sound is fuller, more complex as to its nature as well as the images in conjures in one's mind. The word to describe it might be, ethereal, especially when you arrive at the first, cut, "I Largo" of the Cello Concerto 2 No. 2 op.126. Interestingly, I enjoyed this CD for the same reasons I found parts a little grating: the sound of the magnificent cello intrigued and that was enough to hold my interest. I might listen to it quietly (and definitely) in the background when reading a novel. I'm not sure readers are interested that it opens in a four note cell of G,E, B, B flat. But then I could be wrong. This review appeared at OperaOnline.us.