Dmitri Shostakovich: Violin Concerto, Op. 99; Cello Concerto, Op. 107
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Composer: Dmitry ShostakovichConductor: Dimitri Mitropoulos
Conductor: Eugene Ormandy
Orchestra: New York Philharmonic
Orchestra: Philadelphia Orchestra
Edition: Music CD
Format: Original recording remastered
CD Release Date: 1998-06-16
Music Label: Sony
Soundtracks:
- Concerto For Violin And Orchestra No. 1 In A Minor, Op. 99: I. Nocturne, Adagio
- Concerto For Violin And Orchestra No. 1 In A Minor, Op. 99: II. Scherzo, Allegro non troppo
- Concerto For Violin And Orchestra No. 1 In A Minor, Op. 99: III. Passacaglia, Andante
- Concerto For Violin And Orchestra No. 1 In A Minor, Op. 99: IV. Burlesca, Allegro con brio
- Concerto For Cello And Orch No. 1 In E-Flat Major, Op. 107: I. Allegretto
- Concerto For Cello And Orch No. 1 In E-Flat Major, Op. 107: II. Moderato
- Concerto For Cello And Orch No. 1 In E-Flat Major, Op. 107: III. Cadenza
- Concerto For Cello And Orch No. 1 In E-Flat Major, Op. 107: IV. Allegro con molto
Music reviews of Dmitri Shostakovich: Violin Concerto, Op. 99; Cello Concerto, Op. 107
Music Review: An extraordinary CD
Rating: 5 Stars
Shostakovich's Violin Concerto #1 in A minor is indeed one of the composer's most profound works. Highly autobiographical, like many of his other works that were written during crises in his life, the concerto is a serious, introspective work relieved in the second movement by biting satire and in the final movement by one of his short "burlesca" movements which he always wrote so well. The music also reflects the torment of the Russian people during that time -- a soulful project that Shostakovich took upon himself to document during and after the Stalin years. The concerto is certainly one of the greatest works of the twentieth century, and, in my opinion, this recording is one of the most intense and heartfelt performances ever captured on tape. Listen to the poignant and brooding theme of the first movement, marked "Nocturne. Adagio." The theme is insistent, and David Oistrakh plays it with warmth, depth and nobility. Mitropoulos, one of the most sensitive of conductors, forms each phrase expressively. The second movement, filled with rhythmic complexities and featuring a blazing, manic Jewish dance, is played brilliantly by the orchestra and soloist. No other recording of the piece captures that intensity of Mitropoulos and the New York Philharmonic, who was, at the time, at the peak of their form. The long Passacaglia of the third movement seems to speaking for the entire nation of Russia, with a heart-rending theme, beautifully developed and performed, that later becomes the basis of Shostakovich's finest cadenza, an extended emotional passage that leads directly into the short, violent "Burlesca" concluding the masterpiece. The performance is a historic document, recorded in excellent mono sound in 1956 at Carnegie Hall, a day after the successful American premier of the work. Newer recordings by Mullova, Perlman, and Salerno-Sonnenberg have more vivid stereo sound, but none of them can match the intensity of the Mitropoulos-Oistrakh recording. This recording is in a class by itself. I had bought the original LP while I was at college and wore it out. I was overjoyed to find that Sony had reissued it on CD at mid-price and with pages of documentation and photographs of the original sessions. The Sony CD also includes the brilliant Shostakovich Cello Concerto #1 with Rostropovich (for whom the work was written) and the Philadelphia Orchestra under Eugene Ormandy, captured on tape in 1959 stereo sound with Shostakovich, himself, at the recording session. The concerto begins with the driving four-note theme that Shostakovich had used is other works and which had become a sort of motto for him, and leads the listener through a mournful second movement, an prolonged cadenza based on the brooding theme, and a concluding allegro with another of Shostakovich's vigorous Russian dances. Rostropovich literally tears into this concerto. The listener will rarely hear more committed cello playing; Rostropovich bites into the cadenza with noble passion. In short, these are recordings that all Shostakovich enthusiasts greatly admire and have in their collections. It is generous of Sony to put these two incredible recordings onto one CD at mid-price, with good sound and excellent documentation, adequate program notes, and interesting cardboard packaging designed to appear like the original LP's.
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Description of Dmitri Shostakovich: Violin Concerto, Op. 99; Cello Concerto, Op. 107
All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.Sony has brought together Shostakovitch's greatest concertos in first recordings made soon after their American premieres by the artists most closely identified with them. Neither performance has been bettered, though some, such as Vengerov's Teldec Violin Concerto, come close. The Violin Concerto is in solid, detailed mono; the Cello Concerto in fine stereo. Oistrakh goes to the heart of the violin work, playing with extraordinary tonal magnificence and emotional power. He's matched by Mitropoulos, whose identification with the score is apparent. Rostropovitch is as good in the Cello Concerto, getting excellent support from Ormandy's Philadelphians. Both performances share the white heat of fresh discovery and have stood the test of time to become classic recordings. --Dan Davis
Eugene Ormandy was Shostakovich's great interpreter (along with Bernstein) in the West, and he was entrusted with many U.S. premiers of the great Russian composer's symphonies and concertos. This recording of the First Cello Concerto was made while both the composer and his cellist friend were on tour in the United States, so it has the imprimatur of Shostakovich himself. The Violin Concerto similarly was recorded just days after its U.S. premiere in New York with the Oistrakh, for whom it was written. This is as distinguished a pair of performances as you're likely to hear, and although the Violin Concerto is mono, the sound never gets in the way of your enjoyment. An event. --David Hurwitz
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