Shostakovich Cello Concerto No. 1 In E-flat Major Op. 107
Carlos Beirise
The Cello Concerto No. 1 in E-flat major, Op. 107, was composed in 1959 by Dmitri Shostakovich. Shostakovich wrote the work for his friend Mstislav Rostropovich, who committed it to memory in four days. He premiered it on October 4, 1959, at the Large Hall of the Leningrad Conservatory with the Leningrad Philharmonic Orchestra conducted by Yevgeny Mravinsky. The first recording was made in two days following the premiere by Rostropovich and the Moscow Philharmonic Orchestra conducted by Aleksandr Gauk.[1]
shostakovich cello concerto no. 1 in e-flat major op. 107
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The first concerto is widely considered to be one of the most difficult concert works for cello, along with the Sinfonia Concertante of Sergei Prokofiev, with which it shares certain features (such as the prominent role of isolated timpani strokes). Shostakovich said that "an impulse" for the piece was provided by his admiration for that earlier work.[2][not specific enough to verify]
The first movement begins with a four-note main motive some believe is derived from the composer's musical cryptogram D-S-C-H for his name DSCH. The concerto motive is only remotely related, specifically by both being four-note motives having a half-step between the third and fourth notes. The intervals, rhythm and shape of the motto are continually distorted and re-shaped throughout the movement. It is also related to a theme from the composer's score for the 1948 film The Young Guard, which illustrates a group of Soviet soldiers being marched to their deaths at the hands of the Nazis. The theme reappears in Shostakovich's String Quartet No. 8 (1960).
The second, third and fourth movements are played continuously. The second movement is initially elegiac in tone. The string section begins with a quiet theme that is never played by the solo cello. The horn answers and the solo cello begins a new theme. The orchestra plays it after and the first theme is played again. The cello plays its second theme, which progressively becomes more agitated, building to a climax in bar 148. This is immediately followed by the first theme played loudly. The solo cello plays its first melody in artificial harmonics with answers by the celesta, which leads into the cadenza. The second movement is the only movement with no reference to the opening motive of the first movement.
The cadenza stands as a movement in itself. It begins by developing the material from the cello's second theme of the second movement, twice broken by a series of slow pizzicato chords. After the second time this is repeated, the cello's first theme of the second movement is played in an altered form. After the third time the chords are repeated, a continual accelerando passes through allegretto and allegro sections to a piu mosso section. These sections are frequented by the first movement motive. The piu mosso section features fast ascending and descending scales.
The final movement begins with an ascent to a high D. The oboe begins the main theme, which is based on the chromatic scale. The cello repeats it, then presents a new theme. The cellos of the orchestra repeat this, accompanied by the solo cello playing fast sixteenth notes. At bar 105, a distorted version of Suliko, a song favoured by Stalin and used by Shostakovich in Rayok, his satire on the Soviet system, is played. Then, the flutes play the first theme again. A new theme played in triple time is presented by the orchestra, which is repeated by the cello. Then, the orchestra repeats and alters the theme. The horn, bass instruments and solo cello follow. The bass instruments play a modified version of the theme, which is repeated by the solo cello after. The cello begins playing a new theme that uses exactly the same notes as the opening motif. The modified version that was just played by bass instruments is repeated by the solo cello, accompanied by oboes playing fragments of the new opening motive. The first theme of this movement is played by the string section after, followed by the new opening motive theme in the woodwinds. The opening theme of the first movement is played, answered by the cello. After the third time this is played, the horn plays the theme again in longer notes. Then, the cello plays a passage from the first movement, which is followed by the first theme of this movement played by the woodwinds. This is followed by the first theme of the first movement played by the cellos of the orchestra, accompanied by scales in the solo cello. Then, a modified form of the first theme of this movement is played in the cello. The concerto ends with seven timpani strokes.
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The finale returns to the rhythmic impetus of the first movement, if not to its nervous urgency. Shostakovich cunningly builds a superbly controlled increase of tension, at the summit of which the opening pithy four-note theme returns, now on the horn, urging the rest of the orchestra to join in as the cello powerfully reinforces E flat major to conclude the concerto in a surge of almost unstoppable power.
What can we make out of this first concerto, the Cello Concerto No.1 in E-flat major, op.107? Shostakovich had by that time (the concerto was written in 1959, 16 years before his death) already developed a very personal voice his neurosis in his music, sarcasm. He was a yurodivy (roughly translated, a person of high moral and philosophical ideals, who went against the grain of society and criticized it.) This satire is unmistakable in the concerto.
In this recording, the cellist Maria Kliegel tends towards the freer style of playing. In fact the whole idea of her playing is intriguing. She was at one time a Rostropovich prize-winner, as well as a student of the Hungarian cellist Janos Starker. Her playing in the concerto shows great emotional range, although just that little spark sometimes would have been so much more convincing.
The Polish National Radio Symphony Orchestra of Kawotice and Antoni Wit give admirable accompaniment, very confident, very colourful. For this Concerto the cello is placed nicely in the orchestra, and textures are always quite transparent. This is most of the time a good thing, but if the cello were less well-miked sometimes the cello-against-orchestra battles would have been more pronounced. There is such a thing as too much help, unfortunately!
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