Cello Concerto No. 1 in E flat major, Op. 107
Dmitri Shostakovich (1906-75)
Allegretto; Moderato; Cadenza – Attacca; Allegro con moto
DSCH is a motif used by Dmitri Shostakovich in several works, including this concerto. In German musical notation, E flat is called Es (pronounced like the letter S) and B natural is H. Thus, as a musical cryptogram in the manner of the BACH motif, DSCH (Dmitri Schostakowitsch) becomes D,E-flat,C,B. All this may seem to be tautology, virtually unfathomable and signifying little of moment, but other composers have used it as a way of paying homage to the great Russian composer. Homage? Benjamin Britten may have been mischievous rather than hagiographic when setting the words ‘silly fellow, silly fellow’ to this motif in ‘Rejoice in the Lamb’. Shostakovich’s somewhat tortuous and egocentric focus, apparent from the beginning of the concerto, provides the impetus for much of its remainder. The motif is so memorable, it sticks in the mind even when it is not being played, and is easily recognised on its return. For example, it is implied, then quoted more overtly in the third movement (a cadenza for the soloist) and reappears in full-blooded form in the finale.
The work was premièred in 1959 in Moscow and soon afterwards in Philadelphia. In both cities it was a sensation, praised not only for its originality and general approachability, but for the virtuosity and artistry of the 32-year-old soloist, Mstislav Rostropovich. He is said to have memorised the concerto after a mere four days of study. All the ‘great and good’ in music of the time attended one or other of the premières, and one distinguished critic described it as a ‘cello symphony’. That title was used by Benjamin Britten in his equivalent work, first performed in 1963, dedicated to and played by Rostropovich, and following a similar pattern of four movements.
The first movement of the Shostakovich Concerto is a virile, busy and sometimes spectacular tour de force notable for its virtuosic demands on the soloist. The second movement is the longest of the three linked movements that follow. It is reflective in mood, exploiting the bewitching tenor voice of the cello. The third movement sets off as a virtual extension to the second but is played by the soloist alone. After a while, a sense of urgency and drama is injected into this cadenza, and the sheer brilliance of the writing and playing have astounded audiences ever since those memorable first performances. The muscular character of the opening movement returns in the fourth with even more dazzling feats expected from the cellist. Quite soon we pick up hints of the DSCH motif and it is not long before it is restated in a thoroughly recognisable form, bringing the concerto to its triumphant conclusion.
Dmitri Shostakovich (1906-75)
Allegretto; Moderato; Cadenza – Attacca; Allegro con moto
DSCH is a motif used by Dmitri Shostakovich in several works, including this concerto. In German musical notation, E flat is called Es (pronounced like the letter S) and B natural is H. Thus, as a musical cryptogram in the manner of the BACH motif, DSCH (Dmitri Schostakowitsch) becomes D,E-flat,C,B. All this may seem to be tautology, virtually unfathomable and signifying little of moment, but other composers have used it as a way of paying homage to the great Russian composer. Homage? Benjamin Britten may have been mischievous rather than hagiographic when setting the words ‘silly fellow, silly fellow’ to this motif in ‘Rejoice in the Lamb’. Shostakovich’s somewhat tortuous and egocentric focus, apparent from the beginning of the concerto, provides the impetus for much of its remainder. The motif is so memorable, it sticks in the mind even when it is not being played, and is easily recognised on its return. For example, it is implied, then quoted more overtly in the third movement (a cadenza for the soloist) and reappears in full-blooded form in the finale.
The work was premièred in 1959 in Moscow and soon afterwards in Philadelphia. In both cities it was a sensation, praised not only for its originality and general approachability, but for the virtuosity and artistry of the 32-year-old soloist, Mstislav Rostropovich. He is said to have memorised the concerto after a mere four days of study. All the ‘great and good’ in music of the time attended one or other of the premières, and one distinguished critic described it as a ‘cello symphony’. That title was used by Benjamin Britten in his equivalent work, first performed in 1963, dedicated to and played by Rostropovich, and following a similar pattern of four movements.
The first movement of the Shostakovich Concerto is a virile, busy and sometimes spectacular tour de force notable for its virtuosic demands on the soloist. The second movement is the longest of the three linked movements that follow. It is reflective in mood, exploiting the bewitching tenor voice of the cello. The third movement sets off as a virtual extension to the second but is played by the soloist alone. After a while, a sense of urgency and drama is injected into this cadenza, and the sheer brilliance of the writing and playing have astounded audiences ever since those memorable first performances. The muscular character of the opening movement returns in the fourth with even more dazzling feats expected from the cellist. Quite soon we pick up hints of the DSCH motif and it is not long before it is restated in a thoroughly recognisable form, bringing the concerto to its triumphant conclusion.