Dmitri Shostakovich
Shostakovich - Cello Concerto No. 1 Op. 107
New York Philharmonic
New York Philharmonic
Lorin Maazel, conductor

Recording Date   9/28/2006

Classical
Files, 5   Tracks, 32:27  Length
01 Announcer Dmitri Shostakovich – - 03:43
02 Allegretto 06:39
03 Moderato 09:33
04 Cadenza 05:58
05 Allegro con moto 06:34
Music Details
Composition Cello Concerto No. 1  in  E flat major, Op. 107 (1959)
Product Details
Venue Avery Fisher Hall
City, State/Country New York, NY
Packaging FLAC
Live Yes
Sound Stereo
Personal Details
Index # 2334
Owner Dave
User Defined
Purchased ROIO
ROIO Source FM
Notes
New York Philharmonic
Avery Fisher Hall
NY
2006-09-27

Thursday, September 28 at 6:30 pm

Conducted by Lorin Maazel
Lynn Harrell, vc

Announcer 3:42
Shostakovich: Cello Concerto No. 1 Op. 107
Allegretto 6:38
Moderato 9:32
Cadenza 5:58
Allegro con moto 6:33


Announcer 5:37
Symphony No. 5 in D minor Op. 47
Moderato 20:46
Allegretto 5:57
Largo: 12:44
Allegro non troppo 14:28

Total Time: 91:59

From the program notes:

DMITRI SHOSTAKOVICH (1906-1975)
Cello Concerto No. 1 (1959)
The whirlwind timetable of this landmark concerto—from conception to premiere to touring to recording—encompassed a mere six months. Inspired by follow-Russian Sergei Prokofiev’s Symphony-Concerto for Cello and Orchestra, Shostakovich decided to “try my hand at this genre.” In June of 1959 he had already completed the first movement; by July the concerto was finished, and by August the score was in the hands of the dedicatee, the celebrated cellist and Shostakovich’s friend and champion, Mstislav Rostropovich. Amazingly enough, four days later, Rostropovich had already memorized it. The cellist gave the premiere in October, and one month later, Eugene Ormandy led the Philadelphia Orchestra in the American premiere, with Shostakovich in attendance (part of a Soviet-American cultural exchange program during the height of the cold war). Days later, the first recording of the work was laid down in Philadelphia, under the watchful eyes of the composer. Unlike many other compositions by Shostakovich, this one seemed to pass muster with the Soviet culture police, which in its official statement on the matter said that the fierce ending showed “the will to live, victory in the struggle for happiness.”

Shostakovich called the first movement “an allegretto in the style of a jocular march”; gorgeous singing melodies mark the exquisite andante; a demanding solo-cadenza comprises the third movement; and a stunning finale—with timpani punctuations—concludes this virtuoso vehicle for cello.

DMITRI SHOSTAKOVICH (1906-1975)
Symphony No. 5 (1937)
One of the most eloquent symphonic works of the 20th century, Shostakovich’s Fifth reflects the composer’s changing fortunes under Stalin’s repressive rule, during which he fell in and out of favor with the authorities—usually related to whether the music sufficiently glorified the regime. He composed his Fifth Symphony after coming off the latest period of official abuse. Despite the work’s epic grandeur and optimistic façade—huge climaxes, triumphant marches, exhilarating brass and percussion—a profound sadness cries out in the third movement, the emotional heart of the work. Shostakovich wrote: “The rejoicing is forced, created under threat…It’s as if someone were beating you with a stick and saying ‘Your business is rejoicing.’ And you rise, shaky, and go marching off, muttering, ‘Our business is rejoicing, our business is rejoicing.’” This fifth of 15 symphonies is the composer’s most popular work and regularly brings audiences to their feet.