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Dmitri Shostakovich (1906-75)

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Shostakovich & Prokofiev: Sonatas for Cello and Piano

Shostakovich & Prokofiev: Sonatas for Cello and Piano


Prokofiev:

Cello Sonata in C major, Op. 119

Shostakovich:

Cello Sonata in D minor, Op. 40


Luba Edlina (piano), Yuli Turovsky (cello)

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Chandos - CHAN8340

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Shostakovich: 3 Ballet Suites

Shostakovich: 3 Ballet Suites


Shostakovich:

Ballet Suite No. 1 (1949)

Ballet Suite No. 2 (1951)

Ballet Suite No. 3 (1952)


Timothy Waldon (cello), John Gracie (trumpet)

Royal Scottish National Orchestra, Neeme Järvi

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Chandos - CHAN8730

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Shostakovich - Ballet Suites 1-5

Shostakovich - Ballet Suites 1-5


Shostakovich:

Ballet Suites Nos. 1-5 (complete)

Festive Overture, Op. 96

Katerina Izmailova: Suite, Op. 114a


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Chandos Classics - CHAN10088X

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Shostakovich - Cello Concertos Nos. 1 & 2

Shostakovich - Cello Concertos Nos. 1 & 2


Shostakovich:

Cello Concerto No. 1 in E flat major, Op. 107

Cello Concerto No. 2 in G minor, Op. 126


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Shostakovich: Cello Concertos Nos 1 and 2

Shostakovich: Cello Concertos Nos 1 and 2


Shostakovich:

Cello Concerto No. 1 in E flat major, Op. 107

Cello Concerto No. 2 in G minor, Op. 126


Shostakovich wrote two cello concertos for his great friend Mstislav Rostropovich.

Cello Concerto No. 1 was written in 1959, a difficult year for the composer. His second marriage was failing, and he was suffering from a debility in his right hand that hampered his ability to write, and to play the piano. His personal circumstances could not help but to colour this dark and uncompromising cello concerto. The angular motifs in the first movement grate against one another, and the slow movement touches depths of feeling unheard in Shostakovich’s works since the First Violin Concerto a decade earlier.

Shostakovich’s inspiration for the concerto was Prokofiev’s Symphony-Concerto for cello and orchestra. He loved this work, and told Rostropovich that he had played the recording of it so many times that it eventually wore out completely and only emitted a kind of hiss when he put it on his gramophone player.

Cello Concerto No. 2 was written seven years later, in 1966. It was premiered at the composer’s sixtieth birthday concert with Mstislav Rostropovich as soloist. Until the very last moment it was doubtful that Shostakovich himself would attend, as he had recently suffered a heart attack. In the end, he did make it to the concert, and both he and the new concerto were rapturously received. In the words of Rostropovich, this work is ‘less striking [than its predecessor]… but its profundity is second to none’.

The works are here performed by the cellist Enrico Dindo, whom Rostropovich himself described as ‘a cellist of exceptional qualities, a complete artist and a formed musician, with an extraordinary sound which flows as a splendid Italian voice’. Dindo has performed with the BBC Philharmonic, Rotterdam Philharmonic, Orchestre national de France, Toronto Symphony Orchestra, and Chicago Symphony Orchestra, among others, under conductors such as Valery Gergiev and Rostropovich. On this recording he is accompanied by the Danish National Symphony Orchestra under Gianandrea Noseda, an exclusive Chandos artist.

“There’s a dark magic in the way that the Italian cellist Enrico Dindo unfolds his opening monologue, matched by Gianandrea Noseda’s careful colouring of the muted first orchestral entry. The central Scherzo, based on an Odessa folk song, features some fabulous orchestral bassoon playing, but it’s the finale which really haunts...Terrific, and Dindo’s bravura approach gives this elusive piece much more presence than usual, helped by Noseda’s brilliant solo winds.” The Arts Desk, 11th February 2012

“The performance of Shostakovich's First Cello Concerto is particularly distinguished. Dindo musters tremendous energy and rhythmic dynamism in the outer movements while a vocally-inflected lyricism is ever-present throughout the despairing threnody of the Moderato. His apporach to the cadenza is wonderfully fluid and he draws special attention to the inner details...Noseda once again demonstrates his consummate artistry as a concerto accompanist.” BBC Music Magazine, March 2012 *****

“Dindo is a magnificent cellist, and he has the technical measure of these very different but equally great compositions; he is very well partnered by Gianandrea Noseda and the Danish orchestra and the recording quality is first-class, but there remains a lasting impression that Dindo's technical mastery overrides his musical understanding.” International Record Review, February 2012

Super Audio CD

Format:

Hybrid Multi-channel

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Chandos - CHSA5093

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Shostakovich: Chamber Symphony

Shostakovich: Chamber Symphony


Shostakovich:

Chamber Symphony in C minor, Op. 110a

Symphony for strings Op.118a

From Jewish Folk Poetry, Op. 79/79a


I Musici de Montreal, Yuli Turovsky

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Chandos Collect - CHAN6617

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Shostakovich - Complete String Quartets Volume 1

Shostakovich - Complete String Quartets Volume 1


Shostakovich:

String Quartet No. 7 in F sharp minor, Op. 108

String Quartet No. 6 in G major, Op. 101

String Quartet No. 10 in A flat major, Op. 118


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Chandos - CHAN9741

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Shostakovich - Complete String Quartets Volume 3

Shostakovich - Complete String Quartets Volume 3


Shostakovich:

String Quartet No. 9 in E flat major, Op. 117

String Quartet No. 13 in B flat minor, Op. 138

String Quartet No. 8 in C minor, Op. 110


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Chandos - CHAN9955

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Shostakovich: Moscow-Cheryomushki, Op. 105

Shostakovich: Moscow-Cheryomushki, Op. 105


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Shostakovich: New Babylon Film Music & From Jewish Folk Poetry

Shostakovich: New Babylon Film Music & From Jewish Folk Poetry


Shostakovich:

From Jewish Folk Poetry, Op. 79/79a

New Babylon - Film Score, Op. 18


Tatiana Sharova (soprano), Ludmila Kuznetsova (mezzo soprano), Alexei Martynov (tenor)

Russian State Symphony Orchestra, Valeri Polyansky

“This recording of Shostakovich's song cycle From Jewish Folk Poetry is first-rate. For a start Polyansky's three vocal soloists are uncommonly well chosen: the light, youthful, slightly vulnerable soprano, the rich, world-weary mezzo and the ardent but unheroic tenor are ideally suited to the texts Shostakovich cunningly chose to convey his solidarity with mass suffering. Polyansky sets spacious tempos which allow every nuance of that suffering to register, and his orchestra is responsive and idiomatic in colouring. The recording, by Russian engineers, feels almost too good to be true in its excessive warmth; otherwise this version is preferable to the rival Rozhdestvensky on RCA.
Polyansky's choice of the first of Shostakovich's 35 or so film scores makes for a more than welcome coupling. Polyansky offers an admirably idiomatic version of the Suite. He's especially adept at choosing timbres to reflect mood and situation. Even if you don't know the storyline the music was designed to accompany, this performance is so vividly characterised it can hardly fail to engage you.”
Gramophone Classical Music Guide, 2010

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