Customer Reviews

Shostakovich: Concerto for Cello in E flat / Symphony No. 1 in F Major

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Eugene Ormandy, despite his many shorcomings, was devoted to Shostakovich and had an affinity for his music. These remastered analog recordings, made in Ormandy's prime, find him at is best. The Sym. #1 is alert and fizzy. It's not at all Russian, bypassing all darker notes and skimming along on sheer brio, but that's a legitimate way to approach this effervescent student work.

The major item here is the Cello Concerto #1, which has risen over the years to become one of Shostakovich's most popular ad most often recorded works. It was written for Rostropovich, who gave the American premiere under Ormandy in 1959--this studio recording with its cover photo of a jubilant composer coming on stage to take a bow comemmorates that event. He later sat in the control booth for the recording. Rostropovich has recorded the concerto several times, but this one features the best orchestra, and although Ormandy could be more fiery than he is here, he was always a notable accompanist. Columbia's original sonics continue to show off considerable brigtness and impact.

Ormandy & Rostropovich - it's hard to imagine a better combination of outstanding artists, considering Shostakovich's first cello concerto. And the current recording has a legendary status, being the studio equivalent of the first Western performance of this work, also with the composer present. It has been released before on CD (Dmitri Shostakovich: Violin Concerto, Op. 99; Cello Concerto, Op. 107), but the current disc incarnates the original LP coupling with Ormandy's very fine interpretation of the first symphony.

The cello concerto gets an almost raw and brutal interpretation - the very ideal for this masterpiece (in my view, the best cello concerto ever!). Rostropovich's technique is impeccable, but expect no well-mixed smoothie here. It's a knock-down performance on the razor's edge. Orchestral playing is also first rate: Philadelphia Orchestra at its very peak.

The first symphony is also fine, though not as exceptional as the concerto. First choices for the symphony include Kondrashin (Shostakovich - The 15 Symphonies - Kirill Kondrashin) and Rozhdestvensky (Shostakovich: Symphonies 1 & 3). In my view, however, Ormandy's Shostakovich interpretations are always convincing and inspiring, and demands to be heard.

Now there is of course competition for the cello concerto, even if few can challenge the legendary status of the current performance (including its artistic qualities). But I would like to mention Natalia Gutman's superb interpretation with Kondrashin (Cello Concertos 1 & 2/Dialogues for Violoncello), and Yo-Yo Ma with Ormandy in a fine, powerful performance in exceptional sound (Shostakovich/Kabalevsky: Cello Concerto No. 1). It is hard to choose here, so why not buy them all?

In any case, highest possible recommendations for this SONY release.

Although I am firmly convinced the Fourth Symphony was by far, the most highest peak achieved by Ormandy along his succesful artistc trajectory, this version of the First Symphony still stands out as one of the most pyramidal performances ever made.

Since I listened this marvelous Op. I knew I was before one of the most superb masterpieces of all the XX Century. The First Symphony Op. 10 of a very young composer of just twenty years old, literally shocked the musical world all around. From any possible angle you may realize the impressive musculature, the astonishing handle of troubled harmonies and dark modulations free of any spirituality, that possesses a near link with his contemporaries, but also a profound Russian spirit. The overwhelming creativeness, punching incisiveness, astringent language and formidable ensemble of musical microstructures that conform this work still amazes me. A true work of multidimensional levels, that challenges with all the previous musical patterns and inaugurate a new vision, a surprising universe hovered by dark presages, fierce arrogance and steeled conviction.

If I was requested by the most pyramidal symphonies of this first rate composer, I should include this one, the Fourth and the Fifth, due since this last one, we may realize a sort of invisible struggling around the creative spirit of expression, a kind of ferocious muzzle around the undeniable genius of this composer.

Among the most remarkable and well known versions, this one must be included as one of the most transcendental ones.