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Shostakovich: Cello Concertos Nos 1 & 2 (Chandos: CHSA 5093) Hybrid SACD, SACD


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Product details

  • Conductor: Gianandrea Noseda
  • Composer: Dmitri Shostakovich
  • Audio CD (3 Jan 2012)
  • Please Note: Requires SACD-compatible hardware
  • Number of Discs: 1
  • Format: Hybrid SACD, SACD
  • Label: Chandos
  • ASIN: B0069TWD74
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 290,814 in Music (See Top 100 in Music)

1. Cello Concerto No. 1 in E Flat Major, Op. 107 - Enrico Dido/Danish National Symphony Orchestra
2. Cello Concerto No. 2, Op. 126 - Enrico Dido/Danish National Symphony Orchestra

Product Description

CD Description

Shostakovich wrote two cello concertos for his great friend Mstislav Rostropovich. Cello Concerto No. 1 was written in 1959, a difficult year for the composer. His second marriage was failing, and he was suffering from a debility in his right hand that hampered his ability to write, and to play the piano. His personal circumstances could not help but to colour this dark and uncompromising cello concerto. The angular motifs in the first movement grate against one another, and the slow movement touches depths of feeling unheard in Shostakovichs works since the First Violin Concerto a decade earlier. Shostakovichs inspiration for the concerto was Prokofievs Symphony-Concerto for cello and orchestra. He loved this work, and told Rostropovich that he had played the recording of it so many times that it eventually wore out completely and only emitted a kind of hiss when he put it on his gramophone player. Cello Concerto No. 2 was written seven years later, in 1966. It was premiered at the composers sixtieth birthday concert with Mstislav Rostropovich as soloist. Until the very last moment it was doubtful that Shostakovich himself would attend, as he had recently suffered a heart attack. In the end, he did make it to the concert, and both he and the new concerto were rapturously received. In the words of Rostropovich, this work is less striking [than its predecessor] but its profundity is second to none. The works are here performed by the cellist Enrico Dindo, whom Rostropovich himself described as a cellist of exceptional qualities, a complete artist and a formed musician, with an extraordinary sound which flows as a splendid Italian voice. Dindo has performed with the BBC Philharmonic, Rotterdam Philharmonic, Orchestre national de France, Toronto Symphony Orchestra, and Chicago Symphony Orchestra, among others, under conductors such as Valery Gergiev and Rostropovich. On this recording he is accompanied by the Danish National Symphony Orchestra under Gianandrea Noseda, an exclusive Chandos artist.

Review

Shostakovich's two cello concertos date from late in his career: they are full of dark shadows and black-humoured defiance. Both were inspired by Mstislav Rostropovich, and all subsequent interpreters tend to fall in his shadow. Enrico Dindo nevertheless handles the solo parts with a lyrical character and lightly worn virtuosity that make perfect sense on their own terms. His atmospheric treatment of the slow opening to the second concerto is especially impressive. Superbly intense accompaniments from the Danish National Symphony Orchestra under Gianandrea Noseda. *** --Financial Times,21/01/12

Enrico Dindo is a magnificent cellist, and he has the technical measure of both of these very different but equally great compositions; he is very well partnered by Gianandrea Noseda and the Danish Orchestra and the recording is first class. --IRR,Feb'12

First prize-winner at the 1997 Rostrapovich Competition, Italian cellist Enrico Dindo has cut a relatively low profile in the UK. But this situation will surely change as a result of his impressive debut recording for Chandos...a strong front-runner in a highly crowded field. Performance***(**) Recording***** --BBC Music Magazine,Mar'12

Dindo is particularly eloquent in the glacial harmonics that follow the movement's intense climax. A cogent narrative in the cadenza and a brilliantly articulated finale, aided by incisive and well-shaped playing from the Danish National Symphony Orchestra, combine to cap an exceptionally fine reading. --The Strad,Apr'12

Customer Reviews

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Most Helpful Customer Reviews

Format: Audio CD
This is a great SACD from Chandos on all accounts: Interpretation of both the Shostakovich cello concertos is among the best one can dream of; The cellist has on the agile passages the speed and technique (skating properties) that works pretty good on his cello strings with a sure and un-faulty bow work.
On the slow ponderous passages, the cellist gather many variations of imaginative presentations that has a dream-like hypnotism, deep sadness and surrender (all in the Shostakovich score).

The second Cello concerto has even more of the Shostakovich recipe for orchestral colors with unexpected combinations of instruments that makes one sit at the edge of the listening chair.

The orchestra exhibits sorts of virtuosity and togetherness that drives the wagon as it were, ahead, without glitches or road bumps.
No doubt the recording (listened to in SACD multichannel mode) has that amazing clarity, focus, sound-stage dimensions, harmonically fulness and body of tone presentation - second to none.

Very recommendable on all accounts.
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1 of 1 people found the following review helpful By Charles Voogd on 16 Mar 2012
Format: Audio CD
Why is it that so many recordings nowadays are helped and manipulated into the extreme by the production team? Why do so many recordings don't have a `natural' balance? With this recording it is as if you're back in the world of the first digital recordings. I remember one of my first CD's which was a recording of Respighi's The Birds on Philips. It was a clear as could be but every solo instrument was pulled to the front in the extreme, which meant that the string textures sound very thinnish and the ear/brain had to adjust itself every time to this new balance. It wasn't consistent and therefore very tiring. The performance of these concertos is very very good, the soloist and the orchestra give a masterful approach to Shostakowitch sound world. The solo horn in Concerto #1 is very very convincing. But why do the strings sound so thin? Were they on a sick leave?, a strike?, sometimes you get the impression that only 10 string players were available. Or are the solo instruments manipulated to the front?, solo bassoon and other wind instruments sound like you'll never encounter in performance. And then the cello sound: overwhelmingly large. Something you'll never hear in performance too. I know a tear jerker like the cello has to be helped a little in recording balance but this is extreme. The problem in performance is that you can't hear the solo cello very well; but here you'll hear it too well as if the instrument has nothing to do with the orchestra. It's sometimes uncomfortably large. Listening to some of Stanford's symphonies on the Chandos label I really hope they'll return to the way they recorded music in the 1990s before they discovered SACD recordings and their extreme possibilities. Those recordings are reverberant too, but very pleasing on the ear and much better balanced.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 1 review
2 of 4 people found the following review helpful
A rare marvel on all accounts. 21 July 2012
By Judy Spotheim - Published on Amazon.com
Format: Audio CD
This is a great SACD from Chandos on all accounts: Interpretation of both the Shostakovich cello concertos is among the best one can dream of; The cellist has on the agile passages the speed and technique (skating properties) that works pretty good on his cello strings with a sure and un-faulty bow work.
On the slow ponderous passages, the cellist gather many variations of imaginative presentations that has a dream-like hypnotism, deep sadness and surrender (all in the Shostakovich score).

The second Cello concerto has even more of the Shostakovich recipe for orchestral colors with unexpected combinations of instruments that makes one sit at the edge of the listening chair.

The orchestra exhibits sorts of virtuosity and togetherness that drives the wagon as it were, ahead, without glitches or road bumps.
No doubt the recording (listened to in SACD multichannel mode) has that amazing clarity, focus, sound-stage dimensions, harmonically fulness and body of tone presentation - second to none.

Very recommendable on all accounts.
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