Composer: Dmitri Shostakovich
Works: Piano Concerto No. 1 (1933), Piano Concerto No. 2 (1957), Cello Concerto No. 1 (1959)
Performers: André Previn (piano), William Vacchiano (trumpet), Leonard Bernstein (piano and conductor), Yo-Yo Ma (cello), Eugene Ormandy (conductor)
Recording: Rec. 1960s ADD (Piano Concertos), 1980s DDD (Cello Concerto)
Label: Sony SMK 89752
Dmitri Shostakovich’s concertos encapsulate a rich tapestry of 20th-century musical identity, merging the exuberance of Soviet life with an undercurrent of existential reflection. The First Piano Concerto, composed in 1933, reflects a youthful exuberance infused with irony, while the Second, penned in 1957, presents a more benign, yet equally sophisticated, musical expression. The Cello Concerto No. 1, emerging in 1959, starkly contrasts with its predecessors, embodying a profound emotional depth that resonates with the weight of the human experience during the post-Stalin era. Collectively, these works provide a compelling lens through which to explore Shostakovich’s evolving relationship with the political and cultural landscapes of his time.
The interpretation presented by André Previn in the First Piano Concerto is a vibrant exhibition of technical prowess and stylistic agility. Previn’s execution of the opening movement is particularly noteworthy, as he deftly navigates the often frenetic rhythms and complex polyrhythms that characterize this piece. The interplay between piano and trumpet, performed with spirited verve by Vacchiano, exemplifies the concerto’s playful yet satirical nature. The engineering, a product of the 1960s, exhibits an overtly bright sound, occasionally bordering on the abrasive, yet this sonic exuberance complements the work’s theatricality. Previn’s Broadway roots infuse the performance with a certain charm, allowing the jazz and vaudeville elements to shine through, though some critics have noted a lack of polish in dynamic contrasts that might detract from the overall impact.
Bernstein’s dual role as pianist and conductor in the Second Piano Concerto is a bold, if unprecedented, endeavor that pays off with remarkable flair. The recording reveals Bernstein’s unique interpretative choices—his pianistic energy in the closing moments of the first movement is electrifying, a fiery sprint that embodies the spirit of Shostakovich’s youthful exuberance. His musicality is generous, particularly in the Andante, where he reveals a softer, more introspective side, deftly balancing sentiment with a sense of the theatrical. While the sound quality maintains the typical CBS vividness of the era, Bernstein’s commanding presence ensures that the orchestral fabric is never overshadowed by his own virtuosity.
The Cello Concerto No. 1, performed by Yo-Yo Ma under the baton of Eugene Ormandy, marks a departure into darker, more introspective territory. This performance stands as a testament to Ma’s mastery of the instrument and his ability to evoke profound emotional resonance. The recording quality is notably improved compared to the earlier piano concertos, offering a more nuanced sound that captures the cello’s rich tonal colors. Ormandy’s orchestral guidance is both supportive and incisive, allowing Ma to explore the concerto’s extensive emotional landscape without losing the orchestral context. The harrowing nature of the music is palpable, yet Ma’s interpretation occasionally falls short of reaching the depths achieved in other notable recordings, such as those by Rostropovich, whose raw emotional energy has yet to be surpassed.
The juxtaposition of these three concertos illuminates Shostakovich’s multifaceted compositional voice, revealing both the exuberance and the despair of his era. Each performance, while distinct in its character and execution, contributes to a deeper understanding of the composer’s evolution. The adventurous spirit of the First and Second Piano Concertos, with their dazzling instrumental interplay and accessible charm, contrasts sharply with the profound introspection of the Cello Concerto. This recording serves not only as a valuable addition to the Shostakovich discography but also as an essential exploration of the emotional and aesthetic breadth of a composer whose legacy continues to resonate with audiences today.
