Document

  1987
    February 1987
        Orchestral
                Bloch Schelomo. Shostakovich Cello Concerto No. 1.

Bloch Schelomo.

Shostakovich Cello Concerto No. 1 in E flat. Lynn Harrell (vc); Concertgebouw Orchestra / Bernard Haitink.

Decca digital (Full price) (LP) 414 162-1DH (Cassette) 414 162-4DH (CD) 414 162-2DH (51 minutes).

Shostakovich—selected comparisons

Wallfisch, ECO, Simon (2/85) CHAN8322

Ma, Philadelphia, Ormandy (5/85) MK37840

H. Schiff, BRSO, M. Shostakovich (10/85) 412 526-2PH

Here is a case where choice will almost certainly be determined by coupling. There are no fewer than three alternative recordings of the Shostakovich Concerto on Compact Disc: indeed, it is as well represented in the new medium as the Dvorak and Elgar! Of the rivals Yo-Yo Ma offers slightly shorter measure at 45 minutes but much satisfaction all the same, with the First Concerto of Kabalevsky (CBS). Raphael Wallfisch on Chandos gives us the perennially fresh and unaccountably neglected Barber Concerto, while Heinrich Schiff on Philips has the most logical and desirable coupling of all, the Second Cello Concerto of Shostakovich. Oddly enough, having been rather dismissive of the Kabalevsky, I have grown very fond of it, and have always been much attached to the Barber ever since Zara Nelsova's pioneering account with the composer first appeared on Decca. None of these is otherwise available on CD or LP: nor, for that matter, is Bloch's Schelomo, so readers wanting any or all of these works are compelled into undesirable duplication.

The combination of Lynn Harrell, the Concertgebouw Orchestra and Bernard Haitink is predictably impressive, and the recording is wonderfully vivid. But artistically, honours are pretty evenly distributed among the various contenders, though the playing of the Amsterdam orchestra is flawless—and thanks to the excellence of the Decca balance, is heard to best advantage. The sound is very natural, too, on the CBS recording of the Philadelphia Orchestra: Yo-Yo Ma brings a remarkable intensity to the solo part, and Ormandy always had a special feeling for Shostakovich and, of course, conducted the premiere of this concerto in the West. Listening to the slow movement, one is left in no doubt of the more brooding and powerful atmosphere this partnership achieve. They certainly generate just that shade greater electricity in the finale, not Harrell and Haitink lack excitement. The playing of the solo horn, Julia van Leer-Studebaker deserves (and receives) special mention. However, though it is highly recommendable, I would not prefer this newcomer to the CBS.

Schelomo has never occupied quite the same dominant position in the repertoire as has the Shostakovich. Even so it is arguably the greatest and most eloquent work for cello and orchestra of the first decades of this century—with the sole and distinguished exception of the Elgar Concerto—and is vastly more impressive than Voice in the Wilderness, with which both Nelsova and Starker have coupled it in the past. No one has ever matched the sheer vision, fervour and intensity that informed Feuermann's fabulous version with Stokowski (HMV DB5816/8S, 7/41—nla), and the only real challenger in recent times has been the Rostropovich/Bernstein EMI recording (ASD3334, 3/77—nla). For all the clarity of the playing and the excellence of the recording, this new set is not quite in that league.

Summing up, the collector wanting the Shostakovich will find little to disappoint him here, or in any of its rivals for that matter, while the glowing colours and sumptuous textures of the Bloch are well captured.

RL



		Here is a case where choice will almost certainly be determined by coupling. There are no fewer than three alternative recordings of the Shostakovich Concerto on Compact Disc: indeed, it is as well represented in the new medium as the Dvorak and Elgar! Of the rivals Yo-Yo Ma offers slightly shorter measure at 45 minutes but much satisfaction all the same, with the First Concerto of Kabalevsky (CBS). Raphael Wallfisch on Chandos gives us the perennially fresh and unaccountably neglected Barber Concerto, while Heinrich Schiff on Philips has the most logical and desirable coupling of all, the Second Cello Concerto of Shostakovich. Oddly enough, having been rather dismissive of the Kabalevsky, I have grown very fond of it, and have always been much attached to the Barber ever since Zara Nelsova's pioneering account with the composer first appeared on Decca. None of these is otherwise available on CD or LP: nor, for that matter, is Bloch's Schelomo, so readers wanting any or all of these works are compelled into undesirable duplication.



		The combination of Lynn Harrell, the Concertgebouw Orchestra and Bernard Haitink is predictably impressive, and the recording is wonderfully vivid. But artistically, honours are pretty evenly distributed among the various contenders, though the playing of the Amsterdam orchestra is flawless—and thanks to the excellence of the Decca balance, is heard to best advantage. The sound is very natural, too, on the CBS recording of the Philadelphia Orchestra: Yo-Yo Ma brings a remarkable intensity to the solo part, and Ormandy always had a special feeling for Shostakovich and, of course, conducted the premiere of this concerto in the West. Listening to the slow movement, one is left in no doubt of the more brooding and powerful atmosphere this partnership achieve. They certainly generate just that shade greater electricity in the finale, not Harrell and Haitink lack excitement. The playing of the solo horn, Julia van Leer-Studebaker deserves (and receives) special mention. However, though it is highly recommendable, I would not prefer this newcomer to the CBS.



		Schelomo has never occupied quite the same dominant position in the repertoire as has the Shostakovich. Even so it is arguably the greatest and most eloquent work for cello and orchestra of the first decades of this century—with the sole and distinguished exception of the Elgar Concerto—and is vastly more impressive than Voice in the Wilderness, with which both Nelsova and Starker have coupled it in the past. No one has ever matched the sheer vision, fervour and intensity that informed Feuermann's fabulous version with Stokowski (HMV DB5816/8S, 7/41—nla), and the only real challenger in recent times has been the Rostropovich/Bernstein EMI recording (ASD3334, 3/77—nla). For all the clarity of the playing and the excellence of the recording, this new set is not quite in that league.



		Summing up, the collector wanting the Shostakovich will find little to disappoint him here, or in any of its rivals for that matter, while the glowing colours and sumptuous textures of the Bloch are well captured.