# Shostakovich: Cello Concerto #1 in E-flat, op. 107



## science (Oct 14, 2010)

Shostakovich's first cello concerto is currently on the eleventh tier of the Talk Classical community's favorite and most highly recommended works, making it the second-highest ranked cello concerto on our list.

As usual for a work of this stature, Wikipedia has a nice article about it, including a little analysis that amounts to a bit of a listening guide.

As usual, the main questions of this thread are: *Do you like this work? Do you love it? Why? What do you like about it? Do you have any reservations about it? What would you want someone new to this work to know about it?*

And of course, what are your favorite recordings?


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## Enthusiast (Mar 5, 2016)

You don't have a dodgy list of preferred recordings for this one? It is a work I enjoy a lot. Some of Rostropovich's many recordings probably dominate the list of great recordings. But Gutman's visceral approach to music works well for it.


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## DavidA (Dec 14, 2012)

Terrific. Problem is only one guy could really play it - Rostropovich!


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## eugeneonagain (May 14, 2017)

I'd say I like this work a lot, maybe love it. Of course Rostropovich's recordings will dominate, but the one I listen to most is Viviane Spanoghe's 1984 recording with the Sofia Soloists. Another good one I've heard is Alisa Weilerstein with the Symphonieorchester des Bayerischen Rundfunk.

More than one person knows how to play this concerto.

The cadenza section is great, but I have no reservations in saying that I think it goes on a bit and ends up overshadowing the much shorter finale allegro. By the time you reach that finale the explosive opening movement feels like a distant memory.


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## science (Oct 14, 2010)

Enthusiast said:


> dodgy


None of those "dodgy" lists are either my preferences or Trout's.


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## elgar's ghost (Aug 8, 2010)

I would like this one - Russian cellist, Russian conductor, Russian orchestra (and no doubt Russian coughing and spluttering) - but not at current prices for a used copy.










As a cheaper alternative I would have seriously considered this but not in mono.


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## Enthusiast (Mar 5, 2016)

science said:


> None of those "dodgy" lists are either my preferences or Trout's.


I knew that. I would never have been so rude!


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## EdwardBast (Nov 25, 2013)

DavidA said:


> Terrific. Problem is only one guy could really play it - Rostropovich!


Nope. Many can play it. Yo-Yo Ma's performance with Ormandy and the Philadelphia Orchestra I find more fluid and well-conceived than those of Rostropovich, especially in the cadenza.


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## DavidA (Dec 14, 2012)

EdwardBast said:


> Nope. Many can play it. Yo-Yo Ma's performance with Ormandy and the Philadelphia Orchestra I find more fluid and well-conceived than those of Rostropovich, especially in the cadenza.


Maybe I should have said no-one can play it as well as Rostropovich. Mind you, I remember the thrill I had when I first heard it at the London Proms many years ago with the Moscow Phil under Roderzvensky. A young Russian girl played it superbly (to my young mind). She was a looker too!


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## Phil loves classical (Feb 8, 2017)

Schiff and Maxim's version for me. I like the contrasting tempo of the first and 3rd movements.


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## KenOC (Mar 7, 2011)

Phil loves classical said:


> Schiff and Maxim's version for me. I like the contrasting tempo of the first and 3rd movements.


Schiff and Maxim has always been my go-to. Sol Gabetta does a more recent recording, very nice. I particularly like her No. 2, suitably mysterious...


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## joen_cph (Jan 17, 2010)

A bit heretic, but I've always liked Ma/Ormandy a lot. A more romantic and broad melodical approach, though, but I don't agree that it downplays conflicts. Includes a fine little Kabalevsky's 1st Concerto. 
Also have a couple of Rostropoviches, Mørk/Janssons, Sadlo/Ancerl and Schiff/M.Shostakovich.

Haven't heard Gabetta
https://www.amazon.com/Shostakovich-Cello-Concerto-Rachmaninov-Sonata/dp/B00888ENWC
that would be interesting. I only recently discovered this cellist and am a bit uncertain about what I think of her, but she surely has a rather unique, passionate cello style.


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## zelenka (Feb 8, 2018)

absolutely one of my top 4 or 5 Shostakovich works


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## fliege (Nov 7, 2017)

I've just started listening to this. Mainly so far Torelier from Warner's compilation CD but last night I heard a Rostropovich (Alto). The cadenza struck more with the latter recording and I noticed more similarities to the first violin concerto. I'll give Gabetta and Ma a go next. Still getting my head around this one but it's obviously an awesome piece.


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## eugeneonagain (May 14, 2017)

I have Gabetta playing this and I don't think she quite pulls it off. There's not quite enough attack and bite in the first movement. 

She has, however, recorded a great version of Shostakovich's 2nd cello concerto on RCA with the Munich Philharmonic.


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## Merl (Jul 28, 2016)

It's not my favourite cello concerto of all time but the Weilerstein / Heras-Casado disc is a wonderful one. Weilerstein really digs into the music and attacks it. Orchestral balance is perfect and the recording is top class. You can't go wrong with this one.


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## larold (Jul 20, 2017)

_Terrific. Problem is only one guy could really play it - Rostropovich! _

Rostropovich has an individual sound, a huge tone, that separated him from other cellists. Not being a string player I never understood how he did this. I asked a cellist once; she told the strings used can change the sound.

As to the concerto itself it is easy to identify its greatness but, to me, it is not likable. Like much from its author it is loaded with darkness, foreboding and grimness. If I want to hear the cello I more likely will listen to concertos by Haydn, Victor Herbert or, especially, Offenbach.


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## Enthusiast (Mar 5, 2016)

As far as performances go, I think this one from Natalia Gutman is hard to beat









I think it is greatly preferable to her other recording, the one with Temirkanov.

I do know several of Rostropovich's recordings and although some are a bit wilder, I still think this one is the best (perhaps because it was one of the first LPs I ever bought and also because it comes with a first rate 1st symphony):









The difficulty with the work seems to be that the first movement theme can sound inappropriately jaunty. Of the more recent and less Russian recordings, I do like Sol Gabetta's - her slow speed in the first movement helps keep it serious and she is lovely in the slow movement - and agree with Merl that Weilerstein is excellent. I do also know Ma, Schiff and Maisky - all are good but I think the four mentioned above cover the work fine for me.


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## Judith (Nov 11, 2015)

I love it. Yes, at first its daunting but I like a challenge. My copy is performed by Steven Isserlis, Frankfurt Radio Symphony Orchestra and Paavo Jarvi


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## Merl (Jul 28, 2016)

Here's another 3 I like a lot.


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## Sid James (Feb 7, 2009)

I find both of Shostakovich's concertos hard to take, especially the first one. The cadenza has often bought me to tears. I remember Rostropovich saying in an interview how his take on this was that Shostakovich was pointing the finger at those in the Soviet government and asking, "What have you done to my country?" I see it as an equivalent to Solzhenitsyn in his descriptions of gulag life - the cold, the struggle for survival, the mundane almost mechanised existence which is scarcely human.

I did have Rostropovich/Ormandy recording but I wanted a disc with both concertos so now I have Maria Kliegel's account on Naxos. Judging from what I've subsequently read online, its had a mixed reception. Nonetheless I am happy with it - if that's the right word for this gut wrenching music? - and I even purchased another copy as a gift for a friend.

Incidentally I really appreciate this series of threads, science. I have been encouraged to listen to some of these piece, as a matter of fact just did that with the Shostakovich. I only wish I could participate in more of them given my limited time.


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## Littlephrase (Nov 28, 2018)

I’ve been in a real Shostakovich kick for the last week and this work, along with the first violin concerto, served as the catalyst.


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## KenOC (Mar 7, 2011)

We need to spare some love for the 1st cello concerto's somewhat obscure younger brother, the Nr. 2. Where Nr. 1 is brash, energetic, and pretty obvious, Nr. 2 is reticent, ambiguous, and full of gestures that hint at hidden purposes.

There are those who find Nr. 2 the greater of the pair. Those odd people are often the ones whose psyches are twisted enough to enjoy the 15th Symphony. Yeah, people like me. :tiphat:


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## Littlephrase (Nov 28, 2018)

KenOC said:


> We need to spare some love for the 1st cello concerto's somewhat obscure younger brother, the Nr. 2. Where Nr. 1 is brash, energetic, and pretty obvious, Nr. 2 is reticent, ambiguous, and full of gestures that hint at hidden purposes.


Yes, the second is unjustly neglected. The finale especially stands out.


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## Enthusiast (Mar 5, 2016)

I don't know if the second is neglected but it is as good as the first, I think. One problem with it is that CDs that couple them both often seem to have one being given a much more convincing account than the other.


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## Bill Cooke (May 20, 2017)

Enthusiast said:


> As far as performances go, I think this one from Natalia Gutman is hard to beat
> 
> View attachment 112829
> 
> ...


These are my two favorite recordings, as well.


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## EdwardBast (Nov 25, 2013)

Enthusiast said:


> As far as performances go, I think this one from Natalia Gutman is hard to beat
> 
> *The difficulty with the work seems to be that the first movement theme can sound inappropriately jaunty.* Of the more recent and less Russian recordings, I do like Sol Gabetta's - her slow speed in the first movement helps keep it serious and she is lovely in the slow movement - and agree with Merl that Weilerstein is excellent. I do also know Ma, Schiff and Maisky - all are good but I think the four mentioned above cover the work fine for me.


There are two themes in the first movement whose expressive contrast drives the whole concerto. Given that the second theme is grim and harrowing, and given that the first theme returns to declare the finale's upbeat conclusion, why is it inappropriate that it should make a lighter impression in the first movement? In fact, that kind of positive characterization makes perfect sense given its later role, especially since elements of the second theme exert a dark, contrary influence in the cadenza.


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## Enthusiast (Mar 5, 2016)

EdwardBast said:


> There are two themes in the first movement whose expressive contrast drives the whole concerto. Given that the second theme is grim and harrowing, and given that the first theme returns to declare the finale's upbeat conclusion, why is it inappropriate that it should make a lighter impression in then first movement? In fact, that kind of positive characterization makes perfect sense given its later role, especially since elements of the second theme exert a dark, contrary influence in the cadenza.


It isn't lightness as such I object to but jauntiness - a quality that is rarely called for in classical music but quite often delivered by lesser performers - rather than lightness (whether relative or absolute). There are several recordings of the work in question that manage the contrast without resorting to jauntiness, which is particularly out of place in a work as dark as this one. I have recommended several of them.


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## EdwardBast (Nov 25, 2013)

Enthusiast said:


> It isn't lightness as such I object to but jauntiness - a quality that is rarely called for in classical music but quite often delivered by lesser performers - rather than lightness (whether relative or absolute). There are several recordings of the work in question that manage the contrast without resorting to jauntiness, which is particularly out of place in a work as dark as this one. I have recommended several of them.


Thanks. Guess I have to calibrate my jauntiness sensor.


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## eugeneonagain (May 14, 2017)

Enthusiast said:


> It isn't lightness as such I object to but jauntiness - a quality that is rarely called for in classical music but quite often delivered by lesser performers - rather than lightness (whether relative or absolute). There are several recordings of the work in question that manage the contrast without resorting to jauntiness, which is particularly out of place in a work as dark as this one. I have recommended several of them.


I don't think this work is all darkness. Jauntiness and in particular grotesque jauntiness juxtaposed against tragedy and moodiness, but also mingling together, are a sort of trademark of DSCH. Two quotes from him seem to bear this out.



> 'What can be considered human emotions? Surely not only lyricism, sadness, tragedy? Doesn't laughter also have a claim to that lofty title? I want to fight for the legitimate right of laughter in ''serious'' music.'





> Music is a means capable of expressing dark dramatism and pure rapture, suffering and ecstasy, fiery and cold fury, melancholy and wild merriment - and the subtlest nuances and interplay of these feelings which words are powerless to express and which are unattainable in painting and sculpture.


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