This page lists all recordings of Cello Concerto in E minor, Op. 58, by Serge Sergeievitch Prokofiev (1891-1953) on CD. Generally, more recent CDs are listed first, but with priority given to items that are in stock. |
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See Terms & Conditions for p&p rates. | |  | Prokofiev - Cello Concertos & Sonatas
Alexander Ivashkin (cello) & Tatyana Lazareva (piano) Russian State Symphony Orchestra, Valeri Polyansky Having received glowing comments from the critical establishment on original release, Chandos brings together Alexander Ivashkin’s performances of Prokofiev’s Cello Concertos and Sonatas for the first time as a 2-CD set. Prokofiev’s love of the cello began early – he composed his Ballade aged scarcely 20 – and lasted throughout his life, fired by his friendship with Rostropovich. His very last composition was the Sonata, Op. 133 for solo cello, which he began on the latter half of 1952 but left unfinished at his death in March 1953. Towards the end of his life Prokofiev also engaged in the composition of three major works featuring the cellos as solo instrument. All three were inspired by Rostropovich. The Sonata, Op. 119 for cello and piano (1949) was followed by the Sinfonia Concertante, Op. 125 for cello and orchestra (1950-51, revised 1952) and the Concertino in G minor, Op. 132, also for cello and orchestra. Ivashkin gave the premiere recording of the Concertino. The Strad wrote, “This is wonderful playing, best of all is Ivashkin’s understatement whose artistry reveals many fascinating layerings. Alexander Ivashkin is recognised internationally for his interpretations of Russian music, especially the music of Prokofiev, Shostakovich, Schnittke, Gubaidulina and Kancheli. The Telegraph on his Prokofiev performances, “It would be hard to imagine a better advocate for these works than Ivashkin… His rich tone could have been made for Prokofiev’s lush melodic writing…” Ivashkin is joined here by the Russian State Symphony Orchestra under Valeri Polyansky. | 
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| |  | Prokofiev - Concertos
Efrem Kurtz, Walter Susskind, Martha Argerich, Frank Peter Zimmermann, Michel Béroff & János Starker Philharmonia Orchestra, City of Birmingham Symphony Orchestra, Orchestre Symphonique de Montreal, Berliner Philharmoniker, Simon Rattle, Charles Dutoit, Lorin Maazel & Riccardo Muti |
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| |  | The Unknown Prokofiev
Alexander Ivashkin (cello) Russian State Symphony Orchestra, Valeri Polyansky | | | Usually despatched in 2 - 3 working days. |
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| |  | Mstislav Rostropovich plays Cello Concertos
| | Music for Cello & Organ by Frescobaldi, Marcello, J.S.Bach, Handel, Caix d’Herelois, Rheinberger & Saints-Saën | Bach, C P E: | Cello Concerto No. 2 in B flat major, Wq 171 The Saint Paul Chamber Orchestra, Hugh Wolff | Dvorak: | Cello Concerto in B minor, Op. 104 Boston Symphony Orchestra, Seiji Ozawa | Gagneux: | Triptyque pour violoncelle et orchestre Seiji Ozawa | Halffter, R: | Cello Concerto No. 2 Orchestre National de France, Crist¢bal Halffter | Hoddinott: | Noctis Equi, Scena for cello and orchestra London Symphony Orchestra, Kent Nagano | Honegger: | Cello Concerto London Symphony Orchestra, Kent Nagano | Jolivet: | Cello Concerto No. 2 (1966) André Jolivet | Knaifel: | Chapter Eight (live recording) | Milhaud: | Concerto for Cello and Orchestra No. 1 Op. 136 London Symphony Orchestra, Kent Nagano | Moret: | Cello Concerto Collegium Musicum de Zurich, Paul Sacher | Penderecki: | Cello Concerto No. 2 London Symphony Orchestra, Kent Nagano | Prokofiev: | Cello Concerto in E minor, Op. 58 Boston Symphony Orchestra, Seiji Ozawa | Shchedrin: | Cello Concerto "sotto voce concerto" (1994) Seiji Ozawa | Shostakovich: | Cello Concerto No. 1 in E flat major, Op. 107 London Symphony Orchestra, Seiji Ozawa | Tartini: | Cello Concerto in D major The Saint Paul Chamber Orchestra, Hugh Wolff | Tchaikovsky: | Variations on a Rococo Theme in A, Op. 33 Boston Symphony Orchestra, Seiji Ozawa | Vivaldi: | Concerto for cello, strings & continuo in D minor RV 406 The Saint Paul Chamber Orchestra, Hugh Wolff |
Mstislav Rostropovich (cello) ‘Rostropovich, however, does have the true measure of these works and plays to an appropriate scale with a
beauty of tone unimaginable from a period instrument. His eloquence has a style of its own, beyond the usual
constraints of period and convention. The lyrical slow movements are imbued with a wistfulness and intimacy reflecting a well-known side of his musical personality; the brooding rhetorical quality of the C.P.E. Bach Adagio is especially compelling’ Gramophone on Vivaldi & CPE Bach |
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