Dmitri SHOSTAKOVICH (1906-1975)
Cello Concerto No. 1, Op.
107 (1959) [31.33]
Cello Concerto No. 2, Op. 126 (1966) [35.28]
Gautier Capuçon (cello)
Mariinsky Orchestra/Valery Gergiev
rec. live: 3 December 2013, Salle Pleyel, Paris, France (Op. 107): 3 June
2014, Mariinsky Theatre, St. Petersburg, Russia (Op. 126)
ERATO 2564 606973 [67.06]
Shostakovich wrote his two cello concertos for Soviet compatriot Mstislav
Rostropovich in the 1950s and 1960s. The severe artistic constraints
demanded by the Soviet authorities Russia helped shape their enigmatic
character. Both contain outstanding episodes of technical virtuosity and
profound emotional expression for the soloist together with challenging
orchestral writing.
The
Cello Concerto No. 1, written in 1959 bears a dedication to
Rostropovich who introduced the work in 1959 with the Leningrad Philharmonic
under Yevgeny Mravinsky. The opening
Allegretto is upbeat and
spirited becoming increasingly troubled and tense with Capuçon imbuing the
music with a distinctly searching quality. To the second movement
Moderato Capuçon brings a mournful, deep introspection. After a
more intense, rather earnest a mood of almost unbearable sorrow develops.
Relishing the challenges of the writing Capuçon excels in the anxiety-laden
Cadenza. One wonders if the composer was depicting a state of
mental instability. Capuçon provides an abundance of restless, nervous
energy in the
Finale:
Allegretto with writing punctuated
by anguished cries. Under Gergiev the violent conclusion to the movement is
as striking as in any version I have heard.
Written in 1966, in the last decade of his life, the
Cello Concerto
No. 2, was again dedicated to Rostropovich who premièred the score with
the USSR Symphony Orchestra conducted by Yevgeny Svetlanov. This took place
at Shostakovich’s 60th birthday concert in Moscow. Compared to the more
popular
First Concerto this relatively underrated score has only
now begun to establish its rightful place in the repertoire. Opening with a
Largo the predominantly mournful writing depicts a bleak, barren
and freezing wasteland. The darkly brooding intensity of Capuçon’s cello is
spine-tingling. In the relatively short
Scherzo the
soloist's vigorous playing cuts through terse and highly rhythmic
orchestral writing generating the sense of a sardonic dance. Heralded by a
jubilant horn fanfare and drum-roll the substantial sixteen minute
Finale:
Allegretto soon changes character. Capuçon conveys
sadness and tender introspection and this mood underpins the remainder of
the movement.
In both scores this highly assured soloist speaks of steely beauty and
deep intensity. The rich burnished tone of his cello is striking, every note
being savoured. The Mariinsky Orchestra under Gergiev is very much at home
amid these vibrant colours and stark beauty. There's an excellent
rapport between soloist and orchestra, with judicious tempi and disciplined
energy maintained throughout. There is little extraneous noise and any
applause has been taken out. Excellent and vividly clear sound quality from
the recording teams with a pleasing balance.
The partnership of Capuçon and Gergiev is an engaging one and I can’t
imagine too many people being disappointed with this desirable Erato
release. Nevertheless, the finest recording of Shostakovich’s
Cello
Concertos is played with distinction by Heinrich Schiff with the
Symphonieorchester des Bayerischen Rundfunks conducted by the composer’s son
Maxim. Impressively recorded in 1984 this version combines formidably
powerful expression and deep intensity in these absorbing accounts —
compelling in every way.
Michael Cookson
