Cello Concerto No.1/Cello Symphony

In this refreshing and challenging juxtaposition of two works from the last century for cello and orchestra cellist Johannes Moser takes risks. Both works were written for and dedicated to a famous cellist and which have to this juncture remained the associated with that dedicatee. All that has now changed in that Moser's brilliant interpretations of these fiendishly difficult works are completely compelling. He is accompanied by the West German Radio Symphony Orchestra conducted by Pietari Inkinen: it is a fine partnership.

First, The Cello Concerto No. 1 in E Flat Major, Opus 107, was composed in 1959 by Dmitri Shostakovich. He wrote the work for his friend Mstislav Rostropovich, who committed it to memory in four days and gave the premiere on October 4, 1959, with Yevgeny Mravinsky conducting the Leningrad Philharmonic Orchestra in the Large Hall of the Leningrad Conservatory. The work has four movements in two sections, with movements two through four played without a pause: Allegretto, Moderato, Cadenza - Attacca. This, Shostakovich's first cello concerto is widely considered to be one of the most difficult concerted 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.

The Symphony for Cello and Orchestra or Cello Symphony Op. 68 was written in 1963 by the British composer Benjamin Britten. He, too, dedicated the work to Mstislav Rostropovich, who gave the work its premiere in Moscow with the composer and the Moscow Philharmonic Orchestra on March 12, 1964. The work's title reflects the music's more even balance between soloist and orchestra than in the traditional concerto format. The piece is in the four-movement structure typical of a symphony, but the final two movements are linked by a cello cadenza: Allegro maestoso, Presto inquieto, Adagio - cadenza ad lib, Passacaglia: Andante allegro.

Johannes Moser not only possess the technical facility to make these work accessible and even seem rather comfortable to play, but he also manages to fine the beauty of line in the quieter moments as well as facing the exploding movements create such a force of nature that the affect n the listener is almost overwhelming. This is cello performance at its finest form one of today's most outstanding artists of this instrument. Grady Harp, February 12

I am always curious to find out what a talented player finds in Shostakovich and is able to bring out, and in that respect Johannes Moser has something that he definitely wants you to hear. The first movement of the Shostakovich Cello Concerto No. 1 is aggressive right from the beginning...the speed and attack of Mr. Moser on the cello is at first unsettling, but upon a second hearing adds a gripping tension to the underlying march music that is central to the movement. The second movement demonstrates some fine French horn work from the West German Radio Symphony Orchestra, and the thin expressive nature of the music produced definitely conveys uncertainty and a questioning emotional state. The third movement, featuring some very expressive cello playing from Mr. Moser, is also performed quite well, with what seems to be just the right amount of "edginess". The aggression returns in the final and fourth movement, and the tempo and energy are consistent throughout. This is an interesting interpretation.

The other piece on the disc is Britten's Cello Symphony. The first movement starts off with dark, angry sounding music, as if Britten still has more to say at a fundamental about the horrors of war. But there is something else here - something perhaps mythological as hinted at in the liner notes - and it requires some virtuoso level cello playing. The average cellist simply cannot do what is required, and Mr. Moser is certainly up to the task. The second movement is shorter and less dark, as the work moves in a lighter leaning direction. The third movement, featuring some solid timpani work and accompaniment from the orchestra, has a distinctive Russian-like feel to it (in a Shostakovich kind of way. It's hard to explain...you just have to hear it), and it would certainly have been a treat to hear Rostropovich play this piece as it was dedicated to him. This work is well paired with the Shostakovich, and makes for an interesting listening experience.

If Shostakovich's Cello Concerto is to your liking, then this recording offers an interesting and worthwhile interpretation. And the Britten makes for a fine companion. So if you like this sort of thing, then this disc is certainly worth adding to your collection.

Moser proves his worth as a virtuosic performer, keeping one glued to his playing even when the music is less than ideal for easy accessibility. Moser makes it accessible and all but forces us to enjoy it whether we want to or not. He's a most persuasive, almost mesmeric artist.

John J. Puccio
Classical Candor