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  • Shostakovich: Cello Concertos Nos. 1 & 2 [Truls Mørk, Vasily Petrenko] [Ondine: ODE 1218-2]
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Shostakovich: Cello Concertos Nos. 1 & 2 [Truls Mørk, Vasily Petrenko] [Ondine: ODE 1218-2]

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Shostakovich: Cello Concertos Nos. 1 & 2 [Truls Mørk, Vasily Petrenko] [Ondine: ODE 1218-2] + Massenet: Neeme Jarvi Conducts + Walton: Symphony No. 1 | Violin Concerto
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Product details

  • Conductor: Vasily Petrenko
  • Composer: Dmitri Shostakovich
  • Audio CD (28 April 2014)
  • Number of Discs: 1
  • Label: Ondine
  • Other Editions: MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 163,451 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
  1. Cello Concerto No. 1 in E-Flat Major, Op. 107: I. Allegretto 6:00£0.79  Buy MP3 
  2. Cello Concerto No. 1 in E-Flat Major, Op. 107: II. Moderato11:41Album Only
  3. Cello Concerto No. 1 in E-Flat Major, Op. 107: III. Cadenza 6:13£0.79  Buy MP3 
  4. Cello Concerto No. 1 in E-Flat Major, Op. 107: IV. Allegro con moto 4:52£0.79  Buy MP3 
  5. Cello Concerto No. 2 in G Major, Op. 126: I. Largo -14:30Album Only
  6. Cello Concerto No. 2 in G Major, Op. 126: II. Scherzo: Allegretto - 4:34£0.79  Buy MP3 
  7. Cello Concerto No. 2 in G Major, Op. 126: III. Finale: Allegretto17:03Album Only

Product Description

Product Description

This is the premiere recording of the Oslo Philharmonic Orchestra under their new artistic director Vasily Petrenko.

Vasily Petrenko is renowned as a star conductor of the younger generation and one of the foremost interpreters of Shostakovich's symphonies.

Truls Mørk is one of the most respected and prestigious cellists playing today, forged by a reputation of fierce intensity and grace in performances throughout the world. A committed performer of contemporary music, Mørk gave the UK premiere of Rautavaara's cello concerto Towards the Horizon and whose recording on Ondine won both the Gramophone and ICMA Awards.

Shostakovich's cello concertos were written for Mstislav Rostropovich during the 50s and 60s. Besides dashing virtuosity, the concertos also include substantial symphonic elements.


'The sheet strength of Mork's musical character sustains the listener...The Oslo Philharmonic Orchestra is magnificent. Those collecting Vasily Petrenko's symphony cycle on Naxos will not be surprised at his mastery of Shostakovich's orchestral colour, sometimes rich and sonorous, at other times distressingly bleak...a highly desirable package.' --International Record Review, May 2014

'Mork extracts greater pathos from the simple folk melody of the Moderato [Cello Concerto No. 1] than before, and Vasily Petrenko draws out a wealth of fascinating detail from the orchestral accompaniment. Such an outstanding reading makes this an obvious front runner in a highly competitive field.' --BBC Music Magazine, July 2014

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7 of 8 people found the following review helpful By Robert Roy TOP 1000 REVIEWER on 29 April 2014
Format: Audio CD Verified Purchase
Vasily Petrenko has been shining a bright light with the RLPO with his benchmark recordings of the Shostakovich symphonies on Naxos, repertoire that has not been short of outstanding interpreters. But what of his role as collaborator with one of the finest 'cellists now before the public? Well, pretty fantastic !

No one is going to deny that the great Rostropovich's recording with Ormandy is one of the jewels of the recorded legacy of Shostakovich's music but there is no doubt that Truls Mork and Petrenko's new recording is just as great if perhaps offering a different slant on these monumental works. The most obvious difference, to this listener at least, is that Mork and Petrenko have a more collaborative relationship than Rostropovich and Ormandy where there is no doubt at all that the great Russian 'cellist is the star of the show. Here, the 'cellist is more a 'first amongst equal' in both works which pays strong dividends in highlighting the wonderful harmonys and detail of the orchestral writing.

This is especially true of the second concerto where the build up of a simple children's nursery rhyme into a biting, sarcastic and bitter climax is unrivalled. The manic energy of the first concerto's opening movement is propelled forward by the solo horn who seems to be sitting on the very edge of his seat!

The sound quality is simply superb. No matter how many other recordings you have of these works this is simply a must.

Highly recommended!
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1 of 9 people found the following review helpful By teuntje wisserhof on 7 Aug. 2014
Format: Audio CD Verified Purchase
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Most Helpful Customer Reviews on (beta) 5 reviews
6 of 6 people found the following review helpful
Great performances of these complex works 12 May 2014
By Daniel R. Coombs - Published on
Format: Audio CD
The two Cello Concertos of Shostakovich are the product of the composer's friendship with Mstislav Rostropovich, one of the greatest cellists of the twentieth century. I have heard the great Norwegian cellist Truls Mork before; most notably in stellar performances of modern concerti by Hallgrimsson and Rautavaara. He is an amazing player with stellar technique and a beautiful sound. The two Shostakovich concerti are right within his comfort zone and these performances are wholly impressive. The first Concerto was written in 1959 and is characterized by a fairly small orchestra and a somewhat spiky, sardonic nature. In fact it is said that the folk song that serves as the basis to the final Allegro con moto was a favorite of Stalin's and is - purposefully - treated by Shostakovich in a very sarcastic and brusque way. (I have played this piece and it is demanding for everyone not just the soloist) In fact it sounded to me like Mork/Petrenko's tempo for this close is faster than what one usually hears but is very exciting for it. The Concerto #2 was written in 1966 and is quite a but different. The orchestra is much larger and the tone of the piece darker; nearly pessimistic. The opening Largo is sad and pensive but the mood is shattered with some outbursts from the winds and percussion. I think a highlight of this work is the military inspired finale, allegretto, with its wildly "out of place" use of horn calls and percussion against declamation from the cello. In the whole Shostakovich oeuvre, these concertos are among his most hard to understand and difficult to assimilate for the listener However, they are masterpieces. As for Mork's performance it is brilliant. He was out of performance a few years ago with illness and he now back to being one of the world's great cellists. I do recommend this disc highly!
4 of 4 people found the following review helpful
The Shostakovich Cello Concertos by Mork and Petrenko 11 May 2014
By Robin Friedman - Published on
Format: Audio CD
Shostakovich's two cello concertos, which he composed for Mstislav Rostropovich, have become standard works of 20th Century music. The first concerto has been popular since its composition while the more difficult second concerto has gradually found admirers. The Norwegian cellist Truls Mork and the Oslo Philharmonic Orchestra conducted by Vasily Petrenko have recorded the two concertos, beautifully played and conducted, in a live performance for the Odine label. The recordings were made in Oslo in 2013.

Truls Mork (b. 1961) plays with a passion inspired by his Russian studies of his instrument. Mork had earlier recorded the Shostakovich concertos in 1996 with the London Philharmonic conducted by Mariss Jansons. As his reputation and concertizing grew, Mork suffered a central nervous system infection in 2009 which threatened to end his performing career. He returned to performance in 2011 which, on the evidence of this CD, no diminution of his musical and technical gifts.

The Russian-born conductor Vasily Petrenko is the Chief Conductor of the Royal Liverpool Philharmonic Orchestra as well as chief conductor of the Oslo Philharmonic. Petrenko is best-known for his recordings of the complete cycle of Shostakovich symphonies on the Naxos label with the Royal Liverpool Philharmonic, a project which has received wide acclaim and which is nearing completion. Petrenko and Mork prove to be ideal collaborators in this performance of the Shostakovich cello concertos.

Composed in 1959, the four-movement concerto no 1 in E flat Major, Op. 107, is the more accessible of the two. It is written for a relatively small ensemble consisting of strings, wind, a single horn, tympani, and celesta. The brief opening movement consists largely of a brisk, taut march with interplay between the soloist and individual orchestral instruments, particularly the horn. The remaining three movements are connected and include two meditative slow movements followed by a dancelike rapid finale on a folk theme. The work shows a wide emotional range with frequent quick changes in mood for both the cellist and the orchestra. Mork plays with passion and athleticism in the many double stops and frequent use of harmonics.

The three-movement concerto n. 2 in g minor, composed in 1966 also displays a wide emotional and musical range. Overall, this concerto is much harsher and more dissonant than its predecessor with a frequently sardonic, mocking tone. The finale of this 36 minute work is an unusually lengthy 17 minutes and it tends to wander. The work opens with a meditative largo featuring the solo cello. The movement gradually works to a highly emotional and full climax for soloist and full orchestra highlighted by a dialogue between the cello and an insistent, booming bass drum which receives a convincing performance here. The second movement begins as a scherzo but soon, with a drum and horn fanfare, moves into the lengthy finale which assumes many musical moods over its duration. There is a lengthy somewhat spare interchange of themes between the soloist and various instrumental combinations before the music picks up in intensity towards the end. It works slowly to a quiet, meditative close, in the spirit of the opening of the piece. The second concerto becomes more impressive with repeated hearings.

It is valuable to have the opportunity to get to better know Shostakovich's cello concertos through the emotional collaboration between Mork and Petrenko on this CD. The recording encourages me to explore Petrenko's cycle of Shostakovich's symphonies. This CD will appeal to lovers of Shostakovich, including those who know other recordings of these concertos. It will also appeal to listeners who want to get to know 20th Century music in all its variety. Richard Whitehouse wrote the musically-informative liner notes. The Naxos label kindly provided me with a review copy of this CD.

Total Time: 64:59

Robin Friedman
2 of 2 people found the following review helpful
*** 1/2 An air of relentless bleakness misses the soul of Shostakovich's two cello concertos 30 May 2014
By Santa Fe Listener - Published on
Format: Audio CD
I regret reading in a previous review that Truls Mork was afflicted with a neurological condition that threatened his career, so it's unfortunate to report that his tone in this recording is rather thin and wiry, a considerable loss from the rich tone of Rostropovich, who set the template for both Shostakovich cello concertos. There's a shrill, shallow quality to the music-making in general in the first movement, taken in too much of a hurry. The second movement begins to capture the soulful quality that permeates the score, and here one can appreciate Mork's maturity - he's in his early fifties - which reveals itself in posed phrasing and shaded dynamics. Petrenko keeps the line moving; melancholy doesn't sink into gloom.

Like the Shostakovich Violin Cto., where the solo Passacaglia serves as a long soliloquy, the Candenza is this concerto demands deeply felt eloquence. I don't think the thematic material is as compelling or memorable as in the Violin Cto., but rostropovich's personality was riveting. I felt unmoved by Mork in this long (6 min.) solo, where he evoked loneliness but not much richness or soulfulness. The finale is sharply angled under Petrenko, and here the cellist's wiry tone fit the biting tone of frenetic woodwinds. It's probably the most successful movement in this performance. I wish the whole experience contained more exuberance, not simply high energy.

Although seven years isn't a long span, between 1959 and 1966, when Shostakovich wrote the Cello Cto. no. 2, again dedicated to Rostropovich, the idiom was sparer, gloomy, enigmatic, and angst-ridden. No surprise, this change has made the second work much less popular than the first. Mork's lonely, inward style suits the score. In the concert hall the large orchestra and Shostakovich's varied colors create a focus of interest that equals, or even goes beyond, the solo part. Petrenko has space to express his considerable gifts as a Shostakovich conductor. Still, it's one-dimensional to reduce the score to such lean bleakness. Tragedy is a robust medium, not an anemic one, and for all the virtues that other reviewers hear in this new Cd, I found it less than satisfying.
1 of 1 people found the following review helpful
Fresh and vital concerto recording 19 May 2014
By Dean Frey - Published on
Format: Audio CD
As the complete Shostakovich symphony series on Naxos proceeded, the release of each of Vasily Petrenko’s CDs with the Royal Liverpool Philharmonic impressed me even more. The critical response to the series has been almost universally positive. Now that the series is coming to an end, it’s time for this talented conductor to look to other music by the great Soviet composer. In this new Ondine release of the cello concertos, Petrenko has an equally talented instrumentalist in cellist Truls Mork, and a fine orchestra as well: the Oslo Philharmonic Orchestra. Though nothing could completely overshadow the classic recordings by the original cellist Mstislav Rostropovich, these performances provide a fresh and vital look at two of the 20th century’s finest concertos.
2 of 3 people found the following review helpful
Dark Night of the Soul Music 16 May 2014
By Oscar O. Veterano - Published on
Format: Audio CD
Shostakovich CELLO CONCERTOS Truls Mork/Oslo Philharmonic Orchestra & Vasily Petrenko ONDINE

Post-WW2 Soviet music is definitely an acquired taste; before and after Stalin, much of it sounds stunted, cut off as it was from developments in the west, to say nothing of being subjected to bureaucratic censure. When failing to please the critics results, not in bad reviews or empty houses, but penalties ranging from loss of livelihood to imprisonment to possible loss of life, the wonder is that any real creative work got done at all.
Having managed to outlive Stalin, Shostakovich might be thought of as the most successful mid-20th century Russian composer, with a long string of masterpieces to his credit.
His First and Second Cello Concertos, newly recorded by internationally acclaimed cellist, Truls Mork, were originally written for Mstislav Rostropovich and have become part of standard orchestral repertoire. Both pieces are very well served by Mr. Mork’s passionate and virtuosic playing, as well as the sympathetic performance of the Oslo Philharmonic Orchestra, led by the great Vasily Petrenko.
Congratulations also go out to the engineering staff for the clarity and precision of this recording.
This is NOT an appropriate record for anyone who uses classical music as background for dinner parties or to put their children to sleep. Written under duress, facing both illness and constant political pressure, Shostakovich’s First and Second Cello Concertos convey a sense of grief and longing, brooding and despair that is largely missing from most of today’s music. Music for the dark night of the soul doesn’t go over so well in our have-a-nice-day world.

Highly recommended 9 out of 10 Oscar O. Veterano
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