Rostropovich

On this CD:

1. Concerto for piano, violin, cello, & orchestra in C major ("Triple Concerto"), Op. 56
Composed by Ludwig van Beethoven
Performed by Moscow Philharmonic Symphony Orchestra with David Oistrakh, Sviatoslav Teofilovich Richter, Mstislav Rostropovich
Conducted by Kiril Kondrashin

2. Cello Concerto in A minor, Op. 129
Composed by Robert Schumann
Performed by USSR Symphony Orchestra with Mstislav Rostropovich
Conducted by Gennady Rozhdestvensky

3. Variations on a Rococo Theme, for cello & orchestra (or cello & piano) in A major, Op. 33
Composed by Pyotr Il'yich Tchaikovsky
Performed by USSR Symphony Orchestra with Mstislav Rostropovich
Conducted by Gennady Rozhdestvensky

4. Mavra, opera buffa in 1 act Russian Song - arr. for cello
Composed by Igor Stravinsky
Performed by Mstislav Rostropovich

5. Le baiser de la fée (The Fairy’s Kiss), ballet in four scenes for orchestra Pas de deux - arr. for cello
Composed by Igor Stravinsky
Performed by Mstislav Rostropovich

6. Etude for piano in B flat minor, Op. 8/11
Composed by Alexander Nikolayevich Skryabin
Performed by Mstislav Rostropovich, Vladimir Yampolsky

7. Saudades do Brasil (12), suite of dances for piano, Op. 67 Tijuca, arranged for cello by Rostropovich
Composed by Darius Milhaud
Performed by Mstislav Rostropovich

8. Ritual Fire Dance (from "El Amor brujo"), for orchestra and various arrangements Ritual Fire Dance
Composed by Manuel de Falla
Performed by Mstislav Rostropovich

9. Silent Woods (Klid), for cello & piano (arr. from From the Bohemian Forest, B. 133), B. 173 (Op. 68/5)
Composed by Antonin Dvorak
Performed by Mstislav Rostropovich, Vladimir Yampolsky

10. An einsamer Quelle, for piano, Op. 9/2 An einsamer Quelle
Composed by Richard Strauss
Performed by Vladimir Yampolsky

11. Suite for violin & orchestra in A Minor, Op 10 ("Suite in the Old Style") Presto
Composed by Christian Sinding
Performed by Mstislav Rostropovich

12. Après un rêve ("Levati sol que luna è levata"), song for voice & piano, Op. 7/1
Composed by Gabriel Faure
Performed by Mstislav Rostropovich

13. Suite bergamasque, for piano, L. 75 Clair de lune
Composed by Claude Debussy
Performed by Mstislav Rostropovich

14. Nocturne and Scherzo, for cello & piano, L. 26
Composed by Claude Debussy
Performed by Mstislav Rostropovich

15. Romance, I See You,
Composed by Yury Alexandrovich Shaporin
Performed by Mstislav Rostropovich, Vladimir Yampolsky

16. Elfentanz for cello & piano, Op 39 "Dance of the Elves"
Composed by David Popper
Performed by Mstislav Rostropovich

17. Impromptu for piano in G flat major, D. 899/3 (Op. 90/3)
Composed by Franz Schubert
Performed by Mstislav Rostropovich

18. Cinderella, Suite No. 3 for orchestra, Op. 109 Adagio
Composed by Sergey Prokofiev
Performed by Mstislav Rostropovich, Vladimir Yampolsky

19. Cinderella, ballet, Op. 87 Waltz-Coda
Composed by Sergey Prokofiev
Performed by Mstislav Rostropovich, Alexey Zybtsev

20. The Love for Three Oranges, suite for orchestra, Op. 33 bis March
Composed by Sergey Prokofiev
Performed by Mstislav Rostropovich, Alexey Zybtsev

21. Violin Sonata in D major, Op.1/13, HWV 371
Composed by George Frideric Handel
Performed by Mstislav Rostropovich

22. Elegy
Composed by Yury Alexandrovich Shaporin
Performed by Mstislav Rostropovich, Vladimir Yampolsky

23. Pieces (5) for cello & piano, Op 25
Composed by Yury Alexandrovich Shaporin
Performed by Mstislav Rostropovich, Aza Amintayeva

Tracks:

Concerto For Violin And Orchestra No. 1 In A Minor, Op. 99: I. Nocturne, Adagio
Concerto For Violin And Orchestra No. 1 In A Minor, Op. 99: II. Scherzo, Allegro non troppo
Concerto For Violin And Orchestra No. 1 In A Minor, Op. 99: III. Passacaglia, Andante
Concerto For Violin And Orchestra No. 1 In A Minor, Op. 99: IV. Burlesca, Allegro con brio
Concerto For Cello And Orch No. 1 In E-Flat Major, Op. 107: I. Allegretto
Concerto For Cello And Orch No. 1 In E-Flat Major, Op. 107: II. Moderato
Concerto For Cello And Orch No. 1 In E-Flat Major, Op. 107: III. Cadenza
Concerto For Cello And Orch No. 1 In E-Flat Major, Op. 107: IV. Allegro con molto

Amazon.com

Sony has brought together Shostakovitch's greatest concertos in first recordings made soon after their American premieres by the artists most closely identified with them. Neither performance has been bettered, though some, such as Vengerov's Teldec Violin Concerto, come close. The Violin Concerto is in solid, detailed mono; the Cello Concerto in fine stereo. Oistrakh goes to the heart of the violin work, playing with extraordinary tonal magnificence and emotional power. He's matched by Mitropoulos, whose identification with the score is apparent. Rostropovitch is as good in the Cello Concerto, getting excellent support from Ormandy's Philadelphians. Both performances share the white heat of fresh discovery and have stood the test of time to become classic recordings. --Dan Davis

Amazon.com

Eugene Ormandy was Shostakovich's great interpreter (along with Bernstein) in the West, and he was entrusted with many U.S. premiers of the great Russian composer's symphonies and concertos. This recording of the First Cello Concerto was made while both the composer and his cellist friend were on tour in the United States, so it has the imprimatur of Shostakovich himself. The Violin Concerto similarly was recorded just days after its U.S. premiere in New York with the Oistrakh, for whom it was written. This is as distinguished a pair of performances as you're likely to hear, and although the Violin Concerto is mono, the sound never gets in the way of your enjoyment. An event. --David Hurwitz

Customer Reviews:

Fantastic oldy but goody..........2007-07-12

I rediscovered the Shost cello concerto. Turns out I had bought a copy on LP back in the 50's. I had forgotten it, but recognised the cover picture on the insert. I haven't played it in many years.

After hearing of Slava's death, I decided to add him to my collection, especially any DSCH pieces. I was pleasantly surprised to re-aquaint myself with an old friend. The sound of these older recordings are fantastic, stereo or not. If you want to collect authentic Shostakovich, you must collect this CD.

Authoritative Performances..........2007-02-02

I have owned both LPs and worn them out with repeated listenings. I feel these performances are breathtaking in their energy and emotion. I only wish there was such a paring on CD of the 2nd Violin and 2nd Cello Concertos with these soloists.

Incredible excitement from a cello.......2006-10-24

I'm a great fan of piano concerti, not string concerti, definitely not cello concerti. But this one makes me go weak in the knees. I first heard it performed by Rostropovich 30 years ago. It made my heart pound. It still does. This performance is the best I've heard. The sound quality is excellent, the orchestra is excellent, and Rostropovich is at the height of his powers. The concerto is modern, but not in the ugly atonal way of much modern orchestral music. It has a driving pulse, simple but powerful melodic lines that linger in the memory, a passionate, almost erotic, exoticism. A friend of mine who didn't like it referred to it as "cosmic debris." I can sort of understand his metaphor, but this trails a glorious plume on re-entry.

The violin concerto was for me just something extra on the disc. But after a careful listening, I'm impressed. Oistrakh was a top-notch violinist, and he was in exteme good form for this performance. The sound quality is good, but not as good as in the cello concerto. The orchestra is dazzling. I won't be skipping over this performance to get to the cello concerto - they make a fine pair in this recording. This disc is a must-have for any lover of 20th century concert music.

Slava! Electrifying stuff! .......2006-03-14

These are absolutely gorgeous recordings of both pieces. Indeed, these are the first ever recordings of both pieces, both recorded just months after their world premieres in the USSR, in 1956 and 1959. Sony have done an excellent job with the remastering, and the sound is crisp and clean.

As for the playing - Oistrakh and Rostropovich in their prime, with Shostakovich present and advising during both recordings - what more needs to be said. Shostakovich dedicated the First Cello Concerto to Rostropovich, his pupil and friend, and he almost seems to breathe the music. Oistrakh is magnificent in the Violin Conecrto, especially in the fast and furious finale. The New York Philharmonic under Mitropoulos and the Phildaelphia Orchestra under Ormandy are pretty damn good as well, and both pieces are fiendishly difficult in places.

Sorry this is praise is a little over the top, but it is entirely deserved!

Stunning Shostakovich.......2005-05-17

Rostropovich in the Cello Concerto is superb and, without question, this is the greatest STUDIO account of the Violin Concerto. But please note: Oistrakh and Mitropoulos gave the American premiere of the Violin Concerto in a LIVE radio broadcast performance on New Year's Day 1956, and the studio recording on this Sony CD was made the following day. That LIVE premiere performance can be heard (excellent sound!) in a 10-disc box set from the New York Philharmonic called "The Historic Broadcasts 1923 to 1987." It's an expensive set ($225), but it contains some other extraordinary items, such as Stravinsky conducting Tchaikovsky's 2nd Symphony, Artur Rubinstein's finest account of the Chopin Piano Concerto #1 with Bruno Walter, Kirsten Flagstad and Walter in an incredible Immolation Scene from Wagner's Gotterdammerung, Stokowski's only recording of Mendelssohn's "Scotch" Symphony, and a great performance by Heifetz with Toscanini of the Brahms Violin Concerto. While I'm not a great fan of Heifetz, this was his finest account of the Brahms.

But the REAL highlight of that NY Phil. set: the SUPERLATIVE performance by Oistrakh and Mitropoulos in the Shostakovich Violin Concerto. While this Columbia studio recording is indeed wonderful, it doesn't quite touch the inspired intensity of Oistakh's "live" premiere. Of course, not all "live" performances are better than their studio counterparts (e.g., I much prefer Sviatoslav Richter's studio Liszt concertos on Philips to his "live" concert recording on BBC Legends). But Oistrakh and Mitropoulos in the premiere tightened the screws and threw off sparks "live" that even this superb studio performance doesn't quite match.

This Sony Columbia Masterworks CD is worth its price just to have the outstanding account of the Cello Concerto with Rostropovich. But if you want to hear Oistrakh's interpretation of the Violin Concerto at its absolute zenith, you should try to hear the NY Phil. set too.

Highly recommended.

Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter

Average customer rating:

There can't be any better!
Wonderful smooth rendition
Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter
Beethoven? Brahms? Karajan? Oistrakh? Richter? Rostropovich? Szell? On One CD? Talk About Star Power!
Glorious

Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter
David Oistrakh , Mstislav Rostropovich , Sviatoslav Richter , Herbert von Karajan , and George Szell
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Great Recordings Of The Century - Brahms: Violin Sonatas nos 1 - 3 / Perlman, Ashkenazy
Dvorák: Cello Concerto; Tchaikovsky / Karajan, Rostropovich,
Shostakovich: Cello Concerto No1, Op107; Violin Concerto No1 (revised), Op99
Tchaikovsky: Violin Concerto Op35; Brahms: Violin Concerto in D Op77
Brahms: Ein deutsches Requiem [A German Requiem]

ASIN: B00000I7VO
Release Date: 1999-03-09

Tracks:

Triple Concerto For Violin, Cello & Piano In C, Op. 56: I Allegro
Triple Concerto For Violin, Cello & Piano In C, Op. 56: II Largo
Triple Concerto For Violin, Cello & Piano In C, Op. 56: III Rondo alla polacca
Double Concerto For Violin & Cello In A Minor, Op. 102: I Allegro
Double Concerto For Violin & Cello In A Minor, Op. 102: II Andante
Double Concerto For Violin & Cello In A Minor, Op. 102: III Vivace non troppo

Amazon.com

Among the concertos of Beethoven and Brahms, these two have always been stepchildren. One reason is their extreme difficulty; both composers were pianists, so Beethoven wrote an idiomatic part only for the piano. Brahms's friend Joseph Joachim offered advice for the violin concerto, but not for the Double Concerto, which was written as a peace offering after a falling-out. The Beethoven Triple Concerto demands utmost virtuosity, as well as intimate teamwork among the soloists, and that is exactly what these three supreme masters of their instruments bring to it. Free--indeed unaware--of technical problems, they give it a joyful, sparkling lightness. The piano ripples, the cello sings gorgeously, the violin soars ecstatically, the tone is intoxicatingly beautiful. The Finale is wistful, charming, lyrical, gently humorous; the ending is a big joke, with the cello and piano rumbling in the bass, while the violin whistles forlornly in the dark until they all join together. The Brahms is grand, majestic, dreamy, radiant, triumphant; the slow movement warm as dark velvet, the Finale genial and relaxed. Though the orchestra never covers the soloists, it explodes in the tutti passages, especially in the Beethoven, so you might keep a finger on the volume control. --Edith Eisler

Customer Reviews:

There can't be any better!.......2007-05-17

It is not for the names only.
I think it is a performance as Beethoven probably had in mind.

Wonderful smooth rendition.......2007-04-26

There is something magical about this recording. It is difficult to describe the smooth full sound that this recording presents. I own other recordings of the Brahms and the Beethoven and at first thought it a little extravagent to own another but I am very pleased I bought it.

Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter.......2007-01-18

I knew this recording and I received what I was expecting. Delivery and condition was great. Thanks.

Beethoven? Brahms? Karajan? Oistrakh? Richter? Rostropovich? Szell? On One CD? Talk About Star Power!.......2006-09-09

All those big names wouldn't mean a thing if the performances themselves were throw aways or showed little commitment, but that's hardly the case, this is probably the finest recordings of both works. Karajan and Richter for one had some rocky interpretative relations in their recording of Tchaikovsky's First Piano Concerto on DG. That was not a great record, where both musical giants pull and push to try and get their way. So yes, in some ways this Beethoven Triple Concerto presents even more challenges because there are four minds, four egos pitted together in one piece of music and that's not counting the greatest ego, Beethoven himself! Luckily everyone melds beautifully together, the three Russian masters are at their best, with Rostropovich a stand out and shining brightly. Meanwhile Karajan, the Austrian master conductor gives them his usual, grand, lush orchestral backdrop via the Berlin Philharmonic. This is warm-hearted, generous music-making between four fearsomely talented musicians.

The Brahms Double Concerto is just as fine, now we have the two string instrumentalists side by side. Oistrakh and Rostropovich communicate wonderfully together in this major Brahms piece. Szell backs them up every step of the way with his precise yet passionate conducting of the Cleveland Orchestra. The EMI recording sounds very good too in both works and the price is quite nice. An outstanding bargain.

Glorious.......2006-01-30

The unbroken tradition of Russian string playing is well-represented on this disc. The Double Concerto is especially wonderful, even rapturous. The two players are beautifully meshed, and Szell and the Cleveland sound warm and emotive, which they sometimes did not, on records and "live". The sessions they recorded for EMI (including a wonderful Dvorak Eighth, far surpassing their recoridng for Masterworks), captured something that often was not well projected.

The remastering captures this warmth, with more brightness than my LP copy of the Brahms ever had, at least after the initial playings.

Average customer rating:

Dullsville!
Bach Cello Suites No.1~6 by Rostropovich
Deeply satisfying
The Best
Exemplary Performances!

Bach: Cello Suites Nos. 1-6

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Dvorák: Cello Concerto; Tchaikovsky / Karajan, Rostropovich,
Shostakovich: Cello Concerto No1, Op107; Violin Concerto No1 (revised), Op99
Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter
Rostropovich, Master Cellist
Bach: Cello Suites

ASIN: B000002RUY
Release Date: 1995-06-13

Tracks:

suite nr.1 (BWV 1007) In G Major: I: prelude
suite nr.1 (BWV 1007) In G Major: II: allemande
suite nr.1 (BWV 1007) In G Major: III: courante
suite nr.1 (BWV 1007) In G Major: IV: sarabande
suite nr.1 (BWV 1007) In G Major: V: menuet I -
suite nr.1 (BWV 1007) In G Major: menuet II - menuet I
suite nr.1 (BWV 1007) In G Major: VI: gigue
suite nr.4 (BWV 1010) In F Flat Major: I: prelude
suite nr.4 (BWV 1010) In F Flat Major: II: allemande
suite nr.4 (BWV 1010) In F Flat Major: III: courante
suite nr.4 (BWV 1010) In F Flat Major: IV: sarabande
suite nr.4 (BWV 1010) In F Flat Major: V: bourree I -
suite nr.4 (BWV 1010) In F Flat Major: bourree II - bourree I
suite nr.4 (BWV 1010) In F Flat Major: VI: gigue
suite nr.5 (BWV 1011) In C Minor: I: prelude
suite nr.5 (BWV 1011) In C Minor: II: allemande
suite nr.5 (BWV 1011) In C Minor: III: courante
suite nr.5 (BWV 1011) In C Minor: IV: sarabande
suite nr.5 (BWV 1011) In C Minor: V: gavotte I -
suite nr.5 (BWV 1011) In C Minor: gavotte II - gavotte I
suite nr.5 (BWV 1011) In C Minor: VI: gigue

Tracks:

suite nr. 2 (BWV 1008) In D Minor: I: prelude
suite nr. 2 (BWV 1008) In D Minor: II: allemande
suite nr. 2 (BWV 1008) In D Minor: III: courante
suite nr. 2 (BWV 1008) In D Minor: IV: sarabande
suite nr. 2 (BWV 1008) In D Minor: V: menuet I -
suite nr. 2 (BWV 1008) In D Minor: menuet II - menuet I
suite nr. 2 (BWV 1008) In D Minor: VI: gigue
suite nr. 3 (BWV 1009) In C Major: I: prelude
suite nr. 3 (BWV 1009) In C Major: II: allemande
suite nr. 3 (BWV 1009) In C Major: III: courante
suite nr. 3 (BWV 1009) In C Major: IV: sarabande
suite nr. 3 (BWV 1009) In C Major: V: bourree I -
suite nr. 3 (BWV 1009) In C Major: bourree II - bourree I
suite nr. 3 (BWV 1009) In C Major: VI: gigue
suite nr. 6 (BWV 1012) In D Major: I: prelude
suite nr. 6 (BWV 1012) In D Major: II: allemande
suite nr. 6 (BWV 1012) In D Major: III: courante
suite nr. 6 (BWV 1012) In D Major: IV: sarabande
suite nr. 6 (BWV 1012) In D Major: V: gavotte I -
suite nr. 6 (BWV 1012) In D Major: gavotte II - gavotte I
suite nr. 6 (BWV 1012) In D Major: VI: gigue

Amazon.com

Mstislav Rostropovich is one of the few musicians who can create a larger-than-life experience through the combined forces of exceptional music, a beautiful instrument, and uncommonly facile communicative skills. In his performances of Bach's transcendent masterpieces for solo cello, Rostropovich finds a perfect balance between a romantic, rhapsodic interpretation and one that emphasizes the purely formal "aridity" of Bach's structures. Although it's nearly impossible to isolate one or two highlights, the Sarabande and Prelude from Suite No. 5 are among the most profoundly moving cello performances you will ever hear--the closest we probably will ever come to experiencing through music the soul of both Rostropovich and Bach. Not everyone will immediately appreciate the very resonant sound that emphasizes the cello's lower register. But after a few minutes your ears adjust, the music takes over, and nothing else seems important. --David Vernier

Customer Reviews:

Dullsville!.......2007-06-01

I love the cover of this record, though. Reminds me of Don Quixote trying to play the cello standing up, like Woody Allen in a marching band! Slow and flat, with no dance or swing to it. Obviously there's a reason he never recorded them till he was past it (just as there's a reason they weren't played for 150 years). The suites are obscure and intimate, and there was little use for them before recording. Casals played them daily, to "consecrate the house" and found the special music in them. Some good Rostropovich is the Beethoven cello sonatas with Richter, but for Bach you should get Casals (1), Fournier (2), (or Starker or the earlier Ma if you find them on sale.)

Bach Cello Suites No.1~6 by Rostropovich.......2007-05-13

I meant to listen to Bach suites and I finally purchased. Unfortunatelly Rostropovich passing on. I am taking cello lesson and I can say that this CD is true classic and true cellist of dreams.

Deeply satisfying.......2005-12-01

When I heard these recordings for the first time, I almost wept. I don't know if this makes any sense, but the only way of saying how I felt was that it was like coming home. Rostropovich plays so simply and directly that one feels all pretense peel away. If art is an imitation of the glory that is nature, and performance an imitation of the art, then this is probably as close as you can come to removing the imitation and having a direct physical, emotional, and spiritual communion. Superlatives fail me and seem trite, so I think I should make this short. Bach's cello music is some of the most beautiful art ever created, and it has such remarkable power to heal the soul. Every human being who appreciates music deserves the priviledge of hearing this music. As I mentioned, the performance is superb, like an improvisation but so carefuly though out and so deeply felt. The recording quality is excellent too, capturing the meltingly beautiful sounds of Rostropovich's cello. Please listen to this; I hope you will be as moved as I was. If I can make a suggestion relevant to the time I'm writing this (Nov. 30th), make a present of this to someone you love for the holidays, the time of peace, as this is one of the great musical expressions of peace and boundless love.

The Best.......2005-10-26

Many people will argue that classical music is to be heard from a large symphony. I disagree. The ability of a single cello to convey an unlimited range of emotion and to personify the music is astounding. This performance of the Bach Cello suites is no exception, Rostropovich lacks the technical perfection of Yo Yo Ma, a good thing in my opinion, because it gives the music a certain personality and warmth. This is, and has been, my favorite collection of music, and to hear it played by Rostropovich justifys anyones love of it. It is simply the best cello collection on CD.

Exemplary Performances!.......2005-10-20

Mstislav Rostropovich has always been a world reknown cellist and one can definitely understand why when hearing these magnificent pieces being played by him. With also a great sound quality, it is truly a great album worth buying!

The Baroque period was one in which the science of musical interpretation was still growing. Many pieces of that period were generally unfriendly to a director or musician in terms of interpreting the meter: most notations were rather bare in that regard. A composer's meaning of 'adagio' could mean something very different to a stranger conducing the piece: how slow? Bach's cello sonatas are a perfect example which is even more respect to Rostropovich's interpretation and performance. A truly outsanding musician is demonstrated here in this recording. Rostropovich has a passionate and delicate interpretation that is neither overly rigid or romantic: they remain austere pieces but also have a spiritual quality to them that is most endearing.

This is a great set of albums for a complete set of Bach's cello suites. Rostropovich remains a highly respected performer and one will understand why when hearing these majestic pieces. A great buy!

Dvorák: Cello Concerto; Tchaikovsky / Karajan, Rostropovich,

Average customer rating:

Wonderful, just shy of the magic created with Ozawa
Dvorak: Cello Concerto / Rostropovich
Rostropovich's legacy made through this recording
Not the best version of the Dvorák concerto with Slava
Amazingly beautiful music

Dvorák: Cello Concerto; Tchaikovsky / Karajan, Rostropovich,

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter
Bach: Cello Suites Nos. 1-6
Shostakovich: Cello Concerto No1, Op107; Violin Concerto No1 (revised), Op99
Great Recordings Of The Century - Brahms: Violin Sonatas nos 1 - 3 / Perlman, Ashkenazy
Dvorak: 3 Great Symphonies

ASIN: B000001GQ8
Release Date: 1996-01-23

Tracks:

Concerto For Cello And Orchestra In B Minor, Op. 104: 1. Allegro
Concerto For Cello And Orchestra In B Minor, Op. 104: 2. Adagio ma non troppo
Concerto For Cello And Orchestra In B Minor, Op. 104: 3. Finale: Allegro moderato
Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Moderato quasi Andante
Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Tema. Moderato semplice
Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione I. Tempo del Tema
Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione II. Tempo del Tema
Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione III. Andante sostenuto
Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione IV. Andante grazioso
Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione V. Allegro moderato
Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione VI. Andante
Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione VII. Allegro vivo

Amazon.com essential recording

Mstislav Rostropovich is the world's greatest cellist, and he has actually made at least five recordings of this greatest of all cello concertos. I have a certain preference for his later version, with Seiji Ozawa and the Boston Symphony Orchestra on Erato. This version has long been a prime recommendation, and in this new remastering at mid-price, it's an even better deal now. Herbert von Karajan accompanies with his usual expertise, and the Tchaikovsky performance is quite simply the finest around. This concerto is one of those pieces of which you'll want to have five or six copies. Just make sure this is one of them. --David Hurwitz

Customer Reviews:

Wonderful, just shy of the magic created with Ozawa.......2007-06-06

This is, undoubtedly, the reference recording of the Rococo Variations. However, the concerto is more a matter of taste. This has long been the reference edition of the concerto and rightfully so - Karajan and Rostropovich create magic in this recording. Rostropovich brings his typical expertise to the music and Karajan follows suite with a warm, sensitive accompaniment. Still, I have a particular preference for the Ozawa/Boston Symphony performance on Erato. Rostropovich does the seemingly impossible by mustering even more energy for that performance, building a first movement that cannot be bettered. The finale hangs fire while the slow central movement finds the introspective Rostropovich delivering an interpretation of touching beauty. The timbral qualities of the Boston Symphony are more suited to this music, free from the heavy, creamy sound typical of Karajan's Berlin Philharmonic. It's nit-picky, and the Rococo Variations under Ozawa aren't quite as fun, but for the concerto, stick with the digital Erato recording.

Dvorak: Cello Concerto / Rostropovich.......2007-05-13

No one has ever matched Rostropovich's rendition of the Dvorak Cello Concerto. It is an immense treasure in the cello literature. Naturally, the Berlin Philharmonic Orchestra under Karajan completes this outstanding recording.

Rostropovich's legacy made through this recording.......2007-05-01

Along with the old mono recording of the Shostakovich Concerto No. 1 released in 1959 shortly after the concerto was written, this recording of the Dvorak Cello Concerto, released in 1969, is what essentially created the Rostropovich legend. It was only one of two cello concerto recordings to make Gramophone magaziens reader list of top 100 recordings of the 20th century.

In that regard, it was the only recording I voted for in the Gramophone poll that was represented in the top 100 recordings of the 20th century (the top recording was Solti's Ring followed by Elgar's cello concerto from DuPre, something only a Brit would think of as one of the two best recordings of the 20th century.)

Both conductor (Karajan) and soloist were reaching the peak of their existence after this legendary recording arrived. Having heard the soloists on a number of poorly recorded Soviet LPs of the St. Saens, Dvorak and other concerti (Rostropovich disdained the Elgar), this recording, which was one of the most technically advanced of its era, showed everyone why this cellist was an artist to reckon.

What Rostropovich and DG engineers exposed in 1969 (when DG was still called DGG) was his stupendous technique and the volume of sound he could create using only the solo instrument. Yes, miking and recordings technology had something to do with this, but anyone that knew Rostropovich or heard him play in concert would attest that his sound was bigger than anyone else's. A cellist once explained to me that this was probably the result of the strings he chose, which would have the greatest alteration on sound.

Needless to say, that sound still bursts forth in this recording, which will soon pass onto its fourth decade. For years it was universally selected as the top recommendation in this repertoire above players like Gendron, Fournier, Piatagorsky, Rose, Tortelier and even the more legendary Casals. No one had ever heard a sound like this cellist made, which was even more enhanced by his elegaic playing in the Tchaikovsky variations that accompany the concerto.

Karajan, too, was still in ascension in the 1960s. His position in Europe was similar to Leonard Bernstein's role in North America, where the two kingpins regularly jet setted around the world to enterain audiences in London, Vienna, New York and Berlin. This is clearly one of the greatest recordings ever made and nothing that has happened since will diminish that. If you want to hear what made Rostropovish famous worldwide, buy this recording.

Not the best version of the Dvorák concerto with Slava.......2007-03-02

Review of the Dvorák concerto only.

This could have been the one of the best recordings of Dvorak's cello concerto available, if the conductor had been replaced. Despite his reputation, Karajan is - as too often is the case - the wrong man for conducting a demanding, powerful, lyrical masterpiece. The orchestra is excellent and Slava's concentrated and beautiful playing is of course impeccable - five stars and beyond for that - but Karajan's clinical "Blitzkrieg" approach prevents the lyrical humanism of this music to blossom. Perhaps the man never could stop thinking about how to eventually realize his seriously distorted ideological convictions - and thus he could never become really involved in the true humanism of music. In fact, comparing this version with Slava's other stereo recordings (i.e., with Boult, Giulini, and Ozawa) of this work suggests that the cellist could not really develop his deep understanding during these sessions. Karajan's streamlined, bandwagon view of music and Slava's lyrical humanism seem to belong to different worlds.

Now, as already indicated, there is a bunch of other recordings with Slava and the Dvorák concerto. We have three other stereo recordings, one with Boult (Testament), one with Giulini (EMI) and one with Ozawa (Erato). Furter, there are four mono recordings: with Khaikin (Revelation or Yedang); with Talich (Supraphon), which was Slava's first recording of the concerto. Finally, there is the famous 1968 concert with Svetlanov (BBC Legends) and a broadcats concerto with Ancerl in Toronto (Tahra).

How does the present recording stand in comparison with these other recordings? The performance with Carlo Maria Giulini and London Philharmonic Orchestra (EMI) is good but not great, but the recording quality is outstanding. Ozawa's interpretation (Erato), which came even later, also in stereo, is not entirely convincing, lacking in Bohemian temperament, but the recording and playing are fine here too. Finally, the early Boult (Testament) is an excellent, warm, and structured interpretation, but in vintage stereo sound. But it should not be left out for that reason. We get a different perspective from Boult, less "passionate" and more structured, so to speak. In fact, I hold the Boult recording to be the best of all Slava's performances, stereo or mono. In contrast to the present account, where the stiff and stylish accompaniment don't fit the cellist's vision, that powerful performance will move you to tears and blow your mind.

But the studio mono recordings with Khaikin and Talich are also both of great interest. But in my view, Slava's first recording with Talich holds a special place, because both playing and interpretation are first class. The interpretation is far more controlled than Giulini's more lyrical approach, and avoids von Karajan's extremes. Yes, it is a mono recording, but that's fine with me. Khaikin's recording is very fine too, even if it is not as convincing as Talich's.

Finally, the two live mono recordings - Svetlanov and Ancerl - are also very memorable. But of these two, I rank Ancerl before Svetlanov, because of the former's superb grasp of the score.

In sum, I rank the Slava-Dvorák recordings, that I am familiar with, as follows: I. Boult, 2. Talich, 3. Ancerl, 4. Svetlanov, 5. Khaikin, 6. Giulini, 7. Ozawa, 9. Karajan.

In sum, this recording doesn't replace Boult's, which offers a more tautly structured approach, not as "overblown" as von Karajan's, Giulini's, and Ozawa's. But check Slava/Talich and Slava/Ancerl if you look for two other great Slava interpretations. And then there are of course other great cellists to consider, in both stereo and in mono: Fournier (DG, stereo), and Casals (Naxos, EMI, Dutton - mono). My advice is that you should have at least one of these too.

(Karajan's fanatical admirers will not appreciate this review. But my advice to you is to try other recordings - there is a world beyond von Karajan.)

Amazingly beautiful music.......2006-12-06

This is a lovely piece of music. Really. You listen to this, and it's like, WOW. That's just beautiful. Because it really is. The cello part is nice and pretty, and like almost all Dvorak, it's exciting and bold. Dvorak has a very distinct style, and quite frankly, he's extremely talented. His music, including this, is wonderful. It starts out sort of quieter, and then you get slammed with something that just takes your breath away. How often can you actually say that about music?

The thing is, I like this piece of music. I like the sound. It's things like these that make me adore Dvorak, because there's just so much feeling and intensity. There's a sort of quality that just makes me love it. And I'm sure you'll love it too, is the thing.

So getting the general music out of the way, the playing here is also incredible. The sound quality is surprisingly good and the music sounds great. Every sudden burst of volume is powerful and pretty at the same time. Rostropovich plays really well and everything is just so nice.

The Tchaikovsky is also very nice. It's a nice little bonus alongside the main gem that is the cello concerto. With this wonderful recording and playing, the price shouldn't even matter, though I guess that it only helps that this is surprisingly cheap. It's a superb deal that I recommend whole-heartedly. It's a great CD that can be listened to at any time.

Buy it!

Schubert, Debussy / Rostropovich, Britten

Average customer rating:

magisterial recordings from 1968 and 1961
Great recording of lesser works.
Desert Island Disc stuff here!
Sublime
Rostropovich/Britten Recording is a Gem

Schubert, Debussy / Rostropovich, Britten

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000JXZ3
Release Date: 1999-08-10

Tracks:

Sonata For Arpeggione And Piano, D821: I. Allegro moderato
Sonata For Arpeggione And Piano, D821: II. Adagio
Sonata For Arpeggione And Piano, D821: III. Allegretto
Funf Stucke im Volkston, Op. 102: I. Mit Humor
Funf Stucke im Volkston, Op. 102: II. Langsam
Funf Stucke im Volkston, Op. 102: III. Nicht schnell
Funf Stucke im Volkston, Op. 102: IV. Nicht zu rasch
Funf Stucke im Volkston, Op. 102: V. Stark und markiert
Sonata For Cello And Piano: I. Prologue
Sonata For Cello And Piano: II. Serenade
Sonata For Cello And Piano: III. Finale

Customer Reviews:

magisterial recordings from 1968 and 1961.......2006-09-13

These are indeed magisterial readings, actually dating from 1961 (Schumann and Debussy) and 1968 (Schubert), in superb transfers. The front cover of this Decca Legends CD reissue is a little misleading about these dates, but the inside pages are clear and awesomely complete about this info and more on the technical processes, with the welcome bonus of reproductions of the two original LP covers from which these three pieces are culled.

They are ample, highly-charged romantic readings, leisurely in tempo, hightlighting the brooding wistfulness of Schubert's sonata rather than its youthful geniality, with warm, lyrical, indeed vocal tone and a wealth of nuances from the cellist, magnificent attention to dynamics and articulation from the pianist and superb listening of each other. How can anyone hearing this call the arpeggione sonata a "minor" work eludes me. The same values are applied to the Debussy sonata, resulting in a highly original and convincing interpretation, far removed from the relative dryness that characterized the French tradition of interpretation of that piece (witness Maréchal and Casadesus 1946 recording, reissued by Sony in their complete Casadesus collection). Ample, brooding, profound, harrowing, conjuring an enigmatic sound-world, with the second movement cello pizzicatos explosive like a menacing jazz double-bass: at their hands the sonata sounds like a meditation on approaching death (this was indeed one of Debussy's last compositions) - almost like a composition of Britten, one is tempted to say, and it is hard to imagine it played otherwise after that experience.

Decca's reissue poses a tricky problem of coupling and duplication, though. The Debussy and Schumann originally came on an LP with Britten's cello/piano sonata, and the Schubert was initially paired with Frank Bridge's cello/piano sonata. Now Decca has aptly reissued the Britten in an homogeneous coupling with the composer's two first solo cello suites, performed again by Rostropovich, an indispensable disc for any Britten and/or Rostropovich admirer - or just music lover (Cello Suites). But the Bridge they have reissued on CD again with the Schubert, as in the original LP - an understandable choice if not very generous in terms of timing (52'), but one that imposes on the record buyer an irksome duplication with the present disc (Schubert: Sonata for Arpeggione and Piano; Bridge: Sonata for Cello and Piano).

Bridge was Britten's teacher, so the latter's advocacy of his music is perhaps understandable, yet the cello sonata sounds to me like a broodingly romantic but ultiately impersonal and dull affair, and if forced to chose I would rather be with Schubert-Schumann-Debussy (more favorable in timing too, with 59') than with Schubert-Bridge. However, if like I do you consider that anything recorded by Britten and Rostropovich is of significance, Decca has reissued the Bridge sonata in one of their "British Music Collection" (470-189-2), paired - not very generously in terms of timing (57') - with 3 tone poems recorded in 1996 by the Academy of Saint-Martin in the Fields led by Neville Marriner (originally published in a collection called English Seasons, with tone poems by Bax, Delius, Foulds and Grainger), plus a short song by Kathleen Ferrier. It seems available only from Amazon.uk, though.

Anyway - yes, this Schubert-Schumann-Debussy is indeed of legendary stature.

Great recording of lesser works........2005-08-09

The highlight of this recording is the Schubert sonata for the Arpegione,the obsoleteness of which resulted in a free-for-all competition for transcriptions.The arrangement for cello and piano is perhaps the most famous.And in this recording,Rostropovich and Britten's excellent mastery of the work makes it sound as if Schubert had written this sonata for the cello.The beautiful cantabile inspirations are played with astounding expressiveness from both Rostropovich are Britten.the Arpegione Sonata is perhaps not a great masterpiece.But with stupendously beautiful playing from these 2 artists of the highest calibre at their highest achievements,the sonata really becomes a chef-d'oeuvre.The Schumann Cello Pieces and the Debussy Cello Sonata are pretty much the same case.They are lesser known works from both composers.But under Rostropovich and Britten's marvellous playing,one must wonder why these 2 works can ever be considered as a sign of the dwindling of the composing powers of Schumann and Debussy.

Desert Island Disc stuff here!.......2005-03-12

This is chamber music at its absolute finest. Britten was a pianist of extraordinarily understated warmth and sensitivity and the perfect accompanist to Rostropovich's soaringly beautiful cello playing. This is really is a music date beyond the every day, where something truly magical occurred between two legendary musicians. Apart from this, the quality and tone of recording are second to none. Other reviewers on this site have sniffed slightly at the choice of music, dismissing the Schumann in particular as unsophisticated. Don't listen to them. This is playing of such beauty and passion that, if you are a fan of even just one of the composers featured here - Schubert, Schummann or Debussy - you simply cannot afford to ignore this.

Sublime.......2004-08-10

This is just a joy from the first play.

Schubert is IMO the preeminent master of chamber music as he was of lieder. This performance of a rarely performed gem should put debate to rest on that. After all Schubert only had an outlet for his chamber-scale pieces...his symphonies remained undiscovered for decades. His death at 31 is one of the greatest tragedies to befall civilization and if you think I'm exaggerating buy this disc.

I seem to glaze off through the Schumann although it is probably just not as interesting a composition as the other two, and it suffers by comparison. His concerto certainly demonstrates he understood the instrument so I will have to listen more attentively.

The Debussy is interesting to me because I haven't heard Rostro play much modern stuff outside of Russians and he does a remarkably effective job of it. I'm not sure I've been impressed more by an instrumentalist than Rostro but that might be as stupidly obvious a statement as my comments on Schubert above.

Rostropovich/Britten Recording is a Gem.......2002-05-01

This remastered 1968 Decca recording of the collaboration of cellist Mstislav Rostropovich and pianist Benjamin Britten is nothing less than a model of inspired chamber music performance. The most lovely part of the album is the duo's performance of the Schubert "Arpeggione" sonata. The simple work, often difficult to make interesting in performance because of its simplicity, shines like a rare gem due to the highly sensitive playing of Benjamin Britten. Added to this is Rostropovich's wonderfully song-like presentation of the composer's melodies.

While I find the duo's performance of the Schumann "Fuenf Stuecke im Volkston" to be somewhat stodgy, I have enjoyed becoming acquainted with the work through this recording. Although a bit dull, the music is still played with clear purpose and direction.

I originally bought this CD because I wanted to have a fine recording of the Debussy cello sonata. I was delighted to hear this intricately interwoven performance. Rostropovich's performance is clear in its execution and intent, yet appropriately murky in its impressionistic delivery. I often replay the performance immediately because of the excitement the two musicians exude.

Tracks:

Concerto For Cello And Orchestra In B Minor Op. 104: Allegro
Concerto For Cello And Orchestra In B Minor Op. 104: Adagio Ma Non Troppo
Concerto For Cello And Orchestra In B Minor Op. 104: Finale. Allegro Moderato
Concerto For Cello And Orchestra In A Minor: Nicht Zu Schnell
Concerto For Cello And Orchestra In A Minor: Langsam
Concerto For Cello And Orchestra In A Minor: Sehr Lebhaft
Andante Cantabile Op. Posth. For Cello And String Orchestra: Andante Cantabile Op. Posth.
Chand Du Menstrel Op. 71 For Cello And Orchestra: Chant Du Menestrel

Tracks:

Sonata For Piano And Cello In G Minor Op.19: Lento - Allegro Moderato
Sonata For Piano And Cello In G Minor Op.19: Allegro Scherzando
Sonata For Piano And Cello In G Minor Op.19: Andante
Sonata For Piano And Cello In G Minor Op.19: Allegro Mosso
Introduction And Polonaise Brillante For Cello And Piano In C Major Op.3: Introduction And Polonaise Brillante For Cello And Piano In C Major
Vocalise Op.34 No.14: Vocalise
Impromptu In G Flat Major D 899 No.3: Impromptu In G Flat Major
Kinderszenen Op.5 No.7 Scenes From Childhood: Traumerei - Dreaming

Amazon.com

Mstislav Rostropovich's 75th birthday is the occasion for this two-disc set of prime recordings by the protean artist. The Dvorák Concerto with Karajan's overrefined conducting, one of the better of the cellist's five recordings of this masterpiece, is not as lively as his version with Ozawa or as idiomatic as his early recording with Talich and the Czech Philharmonic in monophonic sound. The Schumann Concerto, here with Rozhdestvensky and the Leningrad Philharmonic, is incisively Romantic, but disciplined and done with a ravishing tone, vividly recorded. It's superior to his later, indulgent version with Bernstein. The charming short pieces by Tchaikovsky and Glazunov are also irresistible for Rostropovich's gorgeous playing. Disc two partners him in solo pieces with pianist Alexander Dedyukhin, the centerpiece being Rachmaninov's Sonata, overflowing with lovely melodies played to the hilt by the cellist. The shorter works include transcriptions, perfect encore fare perfectly played. This set is a feast for Rostropovich's fans. --Dan Davis

Customer Reviews:

Rostropovich stands out like a dazzling star.......2007-05-20

As difficult a period as the 20th century was ... and all the more so in the soviet union -- Rostropovich stands out like a dazzling star. He represented some the finest levels of musical art that man can achieve -- a triumph of the human spirit.

In the 21st century in the western world, we are witness to the decline of the art form known as "classical music"... with nothing comparable or better on the horizon to replace it. As the 6 billion people of the earth, soon to be 9 billion, struggle for light and space ... there are ominous reverberations in the arts.

Thank God the few of us left who love this music have recordings of men like Rostopovitch ... always with the hope that the fire will be passed on to new generations of performers and composers who will catch the spirit and breath new life into the world.

The flight of no return!.......2007-05-02

This genius of the cello left us April 27th. For the recent music newcomers this name is synonymous of a talented musician, but Rostropovich meant for the music much more than a privileged and sheer artist. His multiple activities as soloist performer and conductor ranked such historical achievements that hardly could be resumed in this little note.

His loss is extremely significant, due he embodied the goal of a total artist. Reader, thinker, and always worried by his country, he knew about so many unsaid details of the missed U.R.S.S, and his narrow collaboration with Dimitri Shostakovich make of him a essential part of the musical History of the last Century With his departure a cycle ends. Fortunately his enormous musical bequeath stand out through the years to come, as striking evidence of his egregious talent.

Hail and farewell!

Rostropovich at 75 - A Look Back.......2003-09-19

To celebrate the 75th year of the birth of cellist Mstislav Rostropovich, the various labels he recorded with over his illustrious career have issued several excellent collections. EMI outdid themselves by issuing, among other sets, the breathtaking 13-CD box set "The Russian Years," featuring rare recordings and numerous premieres made by Rostropovich during his tenure behind the Iron Curtain. That set's a hard one to match, but the two-disc "Master Cellist: Legendary Recordings 1956-78" comes close. What it lacks in quantity, "Master Cellist" makes up for in quality. It contains arguably the single best recording ever made of the Dvorak Cello Concerto (with von Karajan), an excellent Schumann Concerto, and stunning shorter works for cello and orchestra by Tchaikovsky and Glazunov. These are legendary accounts for sure, but no big deal to most serious collectors because they are, or have been, previously available on CD. But what made me trade in my DG Originals disc of the Dvorak Concerto, and get "Master Cellist" was disc two of this set. It features four glorious works for cello and piano, never before released on CD, with Slava's long-time collaborator, pianist Alexander Dedyukhin. They are all, along with the Rach Sonata, quite simply sublime. Rostropovich will sadly not live another 75 years, but his legacy will live on for at least that long thanks to magical recordings like these.

Average customer rating:

Schubert at its best
sublime beauty
A Great Recording
Surprisingly eloquent for the Emersons, and technically a marvel
Sublimely In Tune

Schubert: String Quintet in C, D. 956
Franz Schubert , and Emerson String Quartet
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GFA
Release Date: 1992-08-11

Tracks:

Streichquintett C-Dur D 956 (Op. Post.163): Allegro ma non troppo
Streichquintett C-Dur D 956 (Op. Post.163): Adagio
Streichquintett C-Dur D 956 (Op. Post.163): Scherzo. Presto - Trio. Andante sostenuto
Streichquintett C-Dur D 956 (Op. Post.163): Allegretto

Amazon.com essential recording

When not composing songs, Franz Schubert was most at home with chamber music, not because he was a miniaturist, but because his most profound thoughts were most readily contained by smaller, more concentrated ensembles. His Quintet in C--by far the great work ever written for a string quartet with an extra cello--shows him at his summit with an ethereal second movement that often communicates the sense of spiritual suspended animation that the minimalists strive for but don't often achieve. The Emerson Quartet might seem a bit edgy for this assignment, but instead, the quartet delivers one of the best recordings of its career. Instead of just being swept away by its rapturous lyricism, the quartet probes the emotional depths and meaning of the music's gestures in concentrated, deeply felt performances. The piece is clearly a particular favorite of guest cellist Mstislav Rostropovich (he has recorded it several times before), but like most good chamber players, his presence isn't heard so much as it's felt. Perhaps he is responsible for the particular warmth of this performance. --David Patrick Stearns

Customer Reviews:

Schubert at its best.......2007-06-05

I consider this work to be found in the front rank of Schuberts work.
The melodic partwriting brings an atmosphere of tender intimacy which the musicians fully bring over. Their playing together lets me forget that they are 5 individuals but rather they give the impression as if this would be one single instrument played by one musician. You are almost ignoring the role Rostropovich plays here - he is fully integrated and does not impose himself, perhaps he motivates the four others to supreme performance but you do not notice this. Just beautiful music.

sublime beauty .......2007-05-07

the string quintet in c , d. 956 is sublimely beautiful especially the slow movements . His death and the maiden was my favourite piece of chamber music until i heard this on the radio and I was entranced by its beauty and could not wait until i had my own cd . The musicians are all truly skilled crafts men and perform this piece extremely well . Before i brought this particular cd i listened to several versions before finally settling on this particular recording . I can heartly recommend this cd to any music lover .

A Great Recording.......2007-02-01

The Quintet of Franz Schubert has long been considered a masterpiece yet there is no evidence that it was performed during his lifetime. In fact, little is known about the composition of the Quintet apart from it being mentioned in a letter Schubert wrote to the publisher H. A. Probes. The first performance took place in November 1850.

The first movement contains themes of soaring beauty and power while the slow movement is serene for the most part with passionate outbursts. The Scherzo begins with a brilliant heroic theme followed by a beautifully reflective Trio and the Finale starts with a dance-like melody and moves fairly quickly on to more serene and reflective music returning to the original melody.

This is a superb recording of the Quintet by the Emerson String Quartet with Mstislav Rostropovich as playing the second cello part. The performance is one of great sensitivity and is beautifully recorded. The only problem is that the disc times out at 53:29. The recording was made during a gala concert commemorating the 125th anniversary of BASF AG but one wonders if DG could not have included some other work to better fill out the disc.

Surprisingly eloquent for the Emersons, and technically a marvel.......2006-12-28

There are deeply eloquent recordings of the Schubert C Major Quintet from the Casals Festival in mono and from Isaac Stern, Yo-Yo Ma and friends in stereo (both on Sony) that outstrip this version by the Emersons and Rostropovich. It's the Emersons' way with Romantic works to offer clean, disciplined, and incredibly smooth-voiced readings. As applied here, the quintet sounds absolutely fresh and astonishingly unanimous and in tune (I'm surprised by the misplaced ciriticms of a reviewer below, who seems to feel that pitch and intonation are two different things). Despite all the remarkable precision on display, there's more heart in the playing than in the other Schubert I've heard from this group (their only failing being that the heartbreaking poignancy of the slow movement seems rather dispassionate here).

I agree with those who call this one of the best recordings from the Emerson Qt. and a triumph for the DG engineers--each instrument is caught with great fidelity and balanced beautifully with the others. Given that this masterwork calls for as much emotional depth as any musician can find, I was a little tempted to withold the fifth star, but I doubt that there has ever been a recording as techniclly flawless as this one, so full honors are well deserved.

Sublimely In Tune.......2006-12-10

This piece is, in my opinion, one of the great glories of Western civilization. I have known it half my life and I have never heard a finer recorded performance than the present one. The sound is very attractive, a clear deliniation of each voice, and the combined clarity and translucence of the whole without a single distraction. The Emerson Quartet is unmatched by any other, and in this recording, the angels attend their playing. I can't remember enjoying a recording this much in a long time.

The Glory of Rostropovich: 80th Birthday Tribute

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The Glory of Rostropovich: 80th Birthday Tribute

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ASIN: B000M05VP2
Release Date: 2007-03-20

Average customer rating:

a beautiful expression of a musical dialogue in the great Romantic fashion...
Good, but not great.
Beautiful, just beautiful!
THIS ONE WILL GROW ON YOU
When the Rich Russian Sound Meets the Soulful German....

Brahms: The Cello Sonatas

Manufacturer: Deutsche Grammophon
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Binding: Audio CD

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ASIN: B000001G4M
Release Date: 1990-10-25

Tracks:

Sonate fur Klavier und Violoncello e-moll Op. 38: 1. Allegro non troppo
Sonate fur Klavier und Violoncello e-moll Op. 38: 2. Allegretto quasi Menuetto
Sonate fur Klavier und Violoncello e-moll Op. 38: 3. Allegro
Sonate fur Klavier und Violoncello F-dur Op. 99: 1. Allegro vivace
Sonate fur Klavier und Violoncello F-dur Op. 99: 2. Adagio affettuoso
Sonate fur Klavier und Violoncello F-dur Op. 99: 3. Allegro passionato
Sonate fur Klavier und Violoncello F-dur Op. 99: 4. Allegro molto

Customer Reviews:

a beautiful expression of a musical dialogue in the great Romantic fashion..........2007-05-20

Two of classical musics most remarkable artists meet at the full blossoming of thier careers: Mstislav Rostropovich who plays out the sadness of these pieces in his natural Russian style, and Rudolf Serkin who plays flawlessly.

These sonatas for cello and piano make for a beautiful expression of a musical dialogue in the great Romantic fashion, and I am not even a very big fan of Brahms.

Good, but not great........2005-01-22

While this recording is performed well, after listening to Jacqueline Dupré's rendition of this piece it is hard to rate this performance with the full five stars. Dupré takes the music to another level with even richer tones and smoother legatos. Another difference when comparing these two recordings is the coordination between the cellist and the accompanist. Dupré played with her husband, the pianist and conductor Daniel Barenboim. Those two connect at a much deeper level than the pair in Rostropovich's recording, who at times are clearly not together. However, this review is by no means intended as an affront on Rostropovich's clearly masterful abilities as a cellist. It is just that in the comparison of the two recordings, I feel that Ms. Dupré's passionate and more liberal style of play better suits this particular piece.

Beautiful, just beautiful!.......2004-01-16

I have never cared much for Brahm's music. Yet, I play this cd over and over again. The music is glorious and because of this recording, I have started to sample more of his works. This is a cd truly worth owning.

THIS ONE WILL GROW ON YOU.......2003-08-15

The balance is not quite right, with the cello too prominent, but once I got used to that the performances started to take me over. Here we have two of the greatest classical interpreters of their time taking us into the special world of Brahms, and they had me thinking about the composer in a way I have not done in years. Most books and articles I have read about him have a lot to say about Beethoven, but I really doubt whether Brahms's music would have been much different if Beethoven had never lived. Both consciously and by instinct, Brahms was the guardian of the great German musical tradition embodied above all in Bach -- a tradition where pure 'absolute' music expressed itself through an intellectual apparatus of polyphonic and structural devices. Since Bach's time Haydn and Mozart had perfected for instrumental music a compositional system usually called the 'sonata' style. Beethoven had naturally picked this up, but what he forced on to it was a special dimension of highly personalised expression, and it is precisely this way of treating it that Brahms turned his back on. With him we are back, in his own deeply original way, to music using the composer to express ITself.

I seem to find that Brahms gets more instinctive understanding from performers than Beethoven does, and I believe quite simply that that is because he understands himself better than Beethoven does himself. Teetering on the verge of incoherence at times was all part of Beethoven's unique greatness, and it is not disrespectful -- quite the reverse -- to say so. I have heard far more good performances than bad ones of these two wonderful sonatas, and the special meaning these particular accounts have for me is not something that I felt at first hearing. When a pianist of very special and unusual gifts is aged 80 or so and has retained his technique and evenness of touch, when he has spent a lifetime developing an austere and uncompromising vision of the instrumental music that we normally think of as being the 'greatest', when he studies completely afresh the works he is to perform with the greatest cellist of the next generation, there is a good chance we are going to get something very special, and I do not believe I am imagining it. This is a totally unique artistic combination offering a very special -- not eccentric in any way but still very special -- insight into a composer that many of us know by heart without really getting our minds round the phenomenon he represents. This record is a milestone in my musical pilgrimage and maybe it will be in yours.

When the Rich Russian Sound Meets the Soulful German...........2001-04-11

From the very first note of the e minor sonata, one can notice how perfectly the warmth and control in Rostropovich's sound match the cogitating works of Brahms. In such maturiy and wisdom gained over many a decade, there are things to learn from this recording. The full and rich, yet sensitive tone draws the listener through every movement with assuarance and thrill, and the complete control -- especially apparent in the unhurried tempi -- of both of these maestros should be especially admired. Of course, control and maturity do not mean lack of passion and vigour by any means; the series of robust broken chords of the first movement of the E minor sonata, and the passionate third movement of the F major sonata are no less powerful than any younger perfomers' recordings, if not greater. This is a recording to be enjoyed and studied by all.

Average customer rating:

Stunning
Still the top recording of this opera beyond all doubt!!!
Very Moving
A beautiful recording!!
Stalin Didn't Like It Much!

Lady Macbeth of Mtsensk
Shostakovich , Vishnevskaya , Gedda , and Rostropovich
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

Richard Strauss - Capriccio / Schwarzkopf, Wächter, Gedda, Fischer-Dieskau, Hotter, Ludwig, Moffo, Philharmonia Orchestra, Sawallisch
Shostakovich: Piano Concertos; 3 Fantastic Dances; 5 Preludes & Fugues, Op. 87
R. Strauss - Ariadne auf Naxos / Schwarzkopf · Seefried · Streich · Schock · Prey · PO · Karajan
Shostakovich: 24 Preludes and Fugues, Op. 87
Wagner: Der fliegende Holländer

ASIN: B000063UM3
Release Date: 2002-04-09

Tracks:

Act One, Scene One: Akh, Nye Spitsa Bol'she, Poprobuyu - Galina Vishnevskaya
Act One, Scene One: V Dyevkakh Luchshe Bylo - Galina Vishnevskaya
Act One, Scene One: Gribki Sevodnya Budut? - Galina Vishnevskaya
Act One, Scene One: Prigotov Otravu Dlya Krys - Galina Vishnevskaya
Act One, Scene One: Govori!... Plotinu-to Na - Leslie Fyson
Act One, Scene One: Proshchay, Katerina - WErner Krenn
Act One, Scene One: Chevo Vstal? Chevo Ostanovilsa? - Dimiter Petkov
Act One, Scene One: Interlude - London Philharmonic Orchestra
Act One, Scene Two: A! Ay! Ay! - John McCarthy
Act One, Scene Two: Barynya!... Ay!... Shto S Toboyu? - Robert Tear
Act One, Scene Two: A Nu-s, Pozvol'te Ruku-s - Robert Tear
Act One, Scene Two: Interlude - London Philharmonic Orchestra
Act One, Scene Three: Spat' Pora. Dyen Proshol - Galina Vishnevskaya
Act One, Scene Three: Zherebyonok K Kobylke Toropitsa - Galina Vishnevskaya
Act One, Scene Three: Kto Eto, Kto, Kto Stuchit? - Nicolai Gedda
Act One, Scene Three: Ya Poydu... Proshchay - Nicolai Gedda
Act Two, Scene Four: Shto Znachit Starost' - Dimiter Petkov
Act Two, Scene Four: Pod Oknami U Chzuhikh - Dimiter Petkov
Act Two, Scene Four: Proshchay, Katya, Proshchay! - John McCarthy
Act Two, Scene Four: Ustal... Prikazhete Mnye Postegat'? - Galina Vishnevskaya
Act Two, Scene Four: V Kladovuyu Sergeya Zaperli - Galina Vishnevskaya
Act Two, Scene Four: Vidno, Skoro Uzh Zarya - John McCarthy
Act Two, Scene Four: Batya, Ispovyedatsa - Dimiter Petkov
Act Two, Scene Four: Akh, Boris Timofeyevich - Galina Vishnevskaya
Act Two, Scene Four: Interlude - London Philharmonic Orchestra

Tracks:

Act Two, Scene Five: Sergey, Seryozha! - Nicolai Gedda
Act Two, Scene Five: Katya, Prikhodit Konyets Lyubvi Nashey - Nicolai Gedda
Act Two, Scene Five: Nye Pechal'sa, Sergey - Nicolai Gedda
Act Two, Scene Five: Opyat Usnul - Galina Vishnevskaya
Act Two, Scene Five: Nu? Chevo Tebye? - Nicolai Gedda
Act Two, Scene Five: Slushay, Sergey, Sergey! - Nicolai Gedda
Act Two, Scene Five: Katerina!... Kto Tam? - WErner Krenn
Act Two, Scene Five: Tepyer Shabash - Nicolai Gedda
Act Three, Scene Six: Shto Ty Tut Shoish? - Nicolai Gedda
Act Three, Scene Six: U Menya Byla Kuma - Robert Tear
Act Three, Scene Six: Interlude - London Philharmonic Orchestra
Act Three, Scene Six: Sozdan Politseysky Byl Vo Vremya Ono - Leslie Fyson
Act Three, Scene Six: U Izmaylovoy Seychas Pir Goroy - Martyn Hill
Act Three, Scene Six: Vashe Blagorodie!... Chevo Tebye? - Leslie Fyson
Act Three, Scene Six: Intelrude - London Philharmonic Orchestra
Act Three: Scene Eight: Slava Suprugam - John McCarthy
Act Three: Scene Eight: Shto Takoe?... Zamok Sorvan - John McCarthy
Act Three: Scene Eight: Shto Takoe? Pozdno! - Leslie Fyson
Act Four: Scene Nine: Vyorsty Odna Za Drugoy - John McCarthy
Act Four: Scene Nine: Stepanych! Propusti Menya - Nicolai Gedda
Act Four: Scene Nine: Nye Lekhko Posle Pochota Da Poklonov - Galina Vishnevskaya
Act Four: Scene Nine: Moyo Pochtyenye! - Birgit Finnila
Act Four: Scene Nine: Ladno Dostanu! - Nicolai Gedda
Act Four: Scene Nine: Na Chulki! Idyom, Tepyer Ty Moya! - John McCarthy
Act Four: Scene Nine: V Lesu, V Samoy Chashche Yest' Ozero - Galina Vishnevskaya
Act Four: Scene Nine: Znaesh Li, Sonyetka - Birgit Finnila
Act Four: Scene Nine: Vstavay! Po Mestam! Zhivo - Leslie Fyson
Act Four: Scene Nine: Akh!... Bozhe Moy! Shto Takoe? - Leslie Fyson

Amazon.com

Written between 1930 and 1932, Lady Macbeth of Mtsensk was one of the most brilliant achievements of Shostakovich's long career. It was also the work that got him into trouble with Stalin. When the Soviet leader attended a performance in Moscow in 1936, almost two years after the opera's acclaimed Leningrad premiere, he personally ordered the publication of a scathing article in Pravda ("Muddle Instead of Music"), unleashing a ruthless campaign to reduce the arts in Soviet Russia to a state of dogmatic subservience to the regime. Lady Macbeth would disappear from the repertory for 30 years, and Shostakovich, despite his great gifts for opera, would focus his attention on symphonic and chamber music instead.

But what an opera this one was! Notwithstanding its title, it has nothing to do with Shakespeare's Macbeth and quite a lot to do with Dostoevsky (even though it's based on a story by another 19th-century writer, Nikolai Leskov). The plot has all the elements of a Russian epic--boredom, need, irresistible sexual longing, infidelity, murder, suicide--and the music is vintage Shostakovich, swinging between farce and tragedy with astonishing sureness, magnificently intense, deeply absorbing, yet approachable. The opera's climactic scenes are driven by music of incredible power, and there are pages of haunting lyric beauty as well, such as Katarina's aria in scene 3, or the extraordinary music that begins the love scene between Katarina and Sergey--mysterious, edgy, sensuous, and vast. It's all brought home on this recording, a labor of love from two of the composer's closest friends and greatest champions. Vishnevskaya, the great exponent of the role of Katarina, sings with untrammeled splendor, while Rostropovich, the supreme interpreter of the music of Shostakovich in our time, conducts a characterful, white-hot performance by the London Philharmonic. --Ted Libbey

Customer Reviews:

Stunning.......2006-02-25

Ensemble work is superb, score is brilliant, vocal performances truly "Russian" in style and quality. I'm no expert, but I truly loved this recording.

Still the top recording of this opera beyond all doubt!!!.......2005-06-04

Since other people have already described the opera's content quite reasonably well cumulatively, I'll simply re-affirm their recommendations especially relative to the other two recordings I've heard of this piece: Gjórgijev (on www.gmn.com with his Kiróv-Mariínskiy Opera Company - NB, this recording of a live performance at London's Barbican Hall is not for commercial sale and needs a good internet connection to be properly appreciated) and Chung (on Deutsche Grammophon Gesellschaft).

Those who don't like Vishñévskaja's voice, in my opinion, will still find her much more classy and appealing - as well as orthodox in treating her part - compared to Ewing on the Chung recording. Although both take a few liberties with the occasional note and/or rhythm, there's no question that Vishñévskaja is far more convincing, respectful of the composer's intentions and tasteful (that she studied the part with Shostakóvich himself {they were very close friends!} is so obvious as to defy any attempt at refutation). The same applies to Rostropóvich, even though brass-haters might gravitate to Chung on that basis (here the brass really let rip, though nobody is slighted all the same!): the seal of authenticity is impossible to shake from this recording even though DGG has a somewhat clearer sound allowing more detail to come across at times (and Chung has to also get credit no doubt too for that extra-transparent sound there). No question that I find Petkov much more sinister compared to Haugland with Chung as the evil, incestuously lecherous father-in-law Borís (quite aside from Chung encouraging all his singers to think more along the lines of "Sprechstimme" to the point of abuse!) - and here Haugland is more in his element as the Police Sergeant. All in all, although some details occasionally get muddied up (e.g., Borís's first entry in ghost-form obliterating the woodwinds on this recording), this reading is far more compelling in every way (and it shows just how every bit of Shostakóvich's vocal writing is eminently singable - contrasted to the complaints of his first singers before Stáljin banned the opera outright, as Vishñévskaja relates in her autobiography).

Don't hesitate, anybody who reads this and wants to explore this opera (especially for the first time!!!): THIS is the recording to get!!!! Afterwards you can also check out the other two or more that may be around; but even a seasoned Lady-Macbeth "lover" like me gravitates back to this recording each and every time without fail!

Very Moving.......2004-02-16

Unlike most of the reviewers, it took me a while to enjoy this opera, and not because of the music (which is truly wonderful, and very melodic, so don't be afraid of it if you are uncertain of modern opera, which is often never melodic at all). I found the sound of the Russian very annoying. That will sound strange, but it wasn't the language itself so much as how it was sung. I had heard Russian opera before, and though it is rather "twangy" compared to Italian, German, or French, I was never disturbed by it. There was just something in the singers' voices that took me a while to appreciate. The lead soprano is still not my favorite by any means, even in other recordings of her I have. Still, what came through loud and clear was the drama and the intensity of the work. It is so terrible that such a fine composer was so neglected all because of a very oppressive regime. The characterizations created in the music are frightfully real. I am sure that this opera created such a stir with ruling leaders because it was more than true to form when commenting on their own failings.

For me, and this is only my opinion, the music is wonderful and very easily appreciated, and the men sound far Freer and natural while singing. Personally, I have never found Russian sopranos very exciting. To my ear, most of them, especially the lighter ones, sound strained, pushed, "hooty", and whinny. This dramatic soprano (the conductor's real life wife) is less like all that, but still has all those qualities. I find the Slavic voice sounds better when in lower ranges. Russian Mezzos are thrilling, and most of them have fabulous high C's and even D's, and in this case, I think the opera would be better served having a high Mezzo sing the lead female role. That, however, is just me, as I don't like the Russian Soprano sound.

All in all, though, this is an extremely wonderful recording of a very vital work. I would recommend it to anyone. And for those who are not sure of Russian opera, or even modern opera (and this falls into both catagories), don't worry, you won't be scared off by it in any way.

A beautiful recording!!.......2003-12-15

You don't have to be an advanced opera fan, (or fanatic!) to enjoy this one, as I am an opera newbie. The music is wonderful. Don't reject this opera because it isn't in Italian or German! It is not difficult to follow the libretto in the booklet with the Russian written in transliteration rather than the Cyrillic alphabet, along with the English translation. So get ready for a wild ride! Shostakovich suffered greatly at the hands of the Soviet leadership for writing this opera, but you can enjoy it for a lifetime without fear of persecution, with your only risk being that you will become addicted to this one!

Stalin Didn't Like It Much!.......2003-04-12

Fewer works of opera have had such a troubled history and ruinous effect on a composer than Lady Macbeth of Mtsensk. Anyone familiar with the life of the composer knows the story. Shostakovitch was a brilliant young Leningrad based composer who was deeply involved with the radical intellectual movements of his time, particularly the theatrical work of Mayakovsky. He had scored an early brilliant success with his student project, the Symphony No. 1 and his raucous operatic treatment of Gogol's The Nose. The prospects looked bright and when Lady Macbeth premiered it was wildly successful....until Stalin say it! The next day an article appeared in Pravda entitled :Chaos Instead of Music" and Shostakovitch was officially in disgrace...a state that cause the composer to withdraw his dark and compelling 4th symphony and which didn't really ease until the war years and the success of his Lenigrad Symphony. (And of course was repeated again after the war.) The real shame of this is that Lady Macbeth is arguably one of the greatest modern works of the operatic stage, along with Wozzeck, Peter Grimes, and maybe a few other works by Britten and Janacek.

The plot is primarily what angered Stalin...Lady Macbeth is a rather dark and erotic melodrama, which probably offended the former seminarian's latent puritanical sensibilities. Katerina, the opera's main character, is caught in a dull and lifeless marriage to a petty merchant. When she falls in love with a young worker, she first kills her father in law and then her husband. When discovered by the police, both she and her lover are sent to Siberia, where he abandons Katerina for another woman. Driven mad with jealousy and despair, Katerina pushes the other woman into a river, jumps in after her and both are drowned. The bare bones of the plot do not do justice to the power of the work. No character in the opera is virtuous...the murdered father-in-law secretly lusts after Katerina, the husband is a whimpering whiner, the lover is shallow and a real brute, and Katerina herself is vicious in the extreme. However, Shostakovitch garners real sympathy for Katerina in the marvelous musical depiction of the utter despair and boredom of her life...the almost helplessness of her seduction, and the barbarity of both her father-in-law and her husband. The work can almost be read as a proto-feminist tragedy, except that Shostakovitch still clearly abhors all of this characters' behavior.

It is also not a long stretch to see in the trauma of Katerina a portrait of Stalinist society. Repressed, held back by convention and ultimately crushing boredom (a trait familiar from much Russian literature) Katerina is almost a symbol for the sickness that artists saw eating away Russian society at it's core.

The work moves dizzyingly from tragedy to satire to pathos. Scenes involving the peasants are broadly ribald...almost shockingly so. The scenes of the police station are really a thinly veiled satire on the state of Soviet justice and the petty nature of officialdom. Katerina's mad scene, when her dead father-in-law haunts her has the drama of Mussorgsky. And in the final scene, as the prisoners trudge to Siberia, you know that everyone in the audience must have felt the resonance with the political events of the time. Thi