Search - Shostakovich, Schiff :: Cello Concerti 1 & 2

Great cello, great sound, accompaniment could use a *little*

John Grabowski | USA | 08/18/2003

(5 out of 5 stars)

"I used to own this on vinyl, and I'm sure glad I bought it again on CD. I'd forgotten what powerful, direct, unaffected performances these are. What's remarkable about them is how they are not unusual in any way: they are measured, not over the top, studio recordings where every detail has been thought of, every step of the journey has been mapped ahead of time. Many times this leads to a sterile, well-played-but-dull recording. Not this one. Maxim's support is on the devoted level and Schiff plays every phrase with maximum effect and calculation. The build in the second movement, for example, that starts at about 7:30 is remarkable for its slow, steady pace, a straight ascension that climaxes *just right.* There's not a wasted effect on this album; everything works with no wasted motion. Yet the total effect is of two men who understand where they are in the pieces at all times, and know what the "temperature" is supposed to be at all times. Thus the effort and the technique melt away and we are carried by magic, carefully crafted magic. This album proved to me that sometimes at least, calculation and intellect can win out over spontaneity and discovery. This isn't to compare one unfavorably with the other, but rather to show there's more than one way to skin a rabbit. Or perform the Shostakovich Cello Concerti. (For the "other" way, read my review of Kliegel/Wit on Naxos, or hear, if you want to spring for the whole box, Rostropovich on EMI's "The Russian Years." Also thrilling, but very different.)



Schiff and Maxim are helped by transparent and balanced sound on these two works. This is a really impressive disc sonically. You'll hear inner cello lines and passages where the violins plays against the violas better here than in most recordings, especially in the somewhat denser first concerto. One really appreciates the intricacy of the cello part in these concertos. Other performers attack the work more, but Schiff and Maxim dissect it. But again, though it sounds like this would make for a dull, cautious recording, it is anything but.



Highly recommended, in a very competitive field."

Superb Interpretation of Two 20th Century Masterpieces

Classicalfan | Reston, VA USA | 07/17/2006

(5 out of 5 stars)

"I first heard this 1984 recording of these two concertos and then heard the 1996 recording by Kyrill Rodin, with Konstantin Krimets conducting to Russian Philharmonic Orchestra.



The main difference I immediately noticed in these two performances is that Schiff's is somewhat more restrained in the Allegretto and Allegro movements. This is most noticeable in the first movement (Allegretto) of Cello Concerto No. 1, where the sound of the cello on the Rodin/Krimets recording is more sharply delineated and set off from the orchestra, and there is more of a feeling of tension, and urgency, in the Rodin/Krimets interpretation. This impression may also be the result of differences in recording technology and sound engineering, as much as differences in performance style. The pizzicato sections sound more clear on the Rodin/Krimets than on the Schiff/Shostakovich. On the other hand, the percussion sounds more clear and powerful on the Schiff/Shostakovich.



On the whole, the Schiff interpretation is a bit more restrained, and has a very smooth finish, which is not to say that Rodin's interpretation is by any means unpolished. Both CDs have a poetic lyricism, with a feeling of dark beauty and intimacy in the slow movements (especially the first, Largo movement of Concerto No. 2) that is quite beautiful. Rodin's performance conveys a bit more of a feeling of intensity than Schiff's in the fast movements. But, in the slow movements, the Rodin CD actually has much longer timings, with the second (Moderato) movement of Concerto No. 1 at 12:57, in comparison to 11:03 for Schiff. The greatest difference in timings is in the third (Finale: Allegretto) section of Concerto No. 2, with Rodin at 21:08 compared to 15:19 for Schiff. The quality of the sound on the Rodin CD, especially on the high notes, and most noticeably in the wind and horn sections is exceptionally sharp and crystal clear on the Rodin recording. Both CDs have an excellent balance between the soloist and orchestra.



I have listened to and greatly enjoyed both CDs several times, sometimes listening to one movement of the Rodin/Krimets CD and then immediately listening to the same movement by Schiff/Shostakovich, and comparing the differences between the two CDs. At this point, I still don't have a preference. Both performances are outstanding. I give both CDs my highest recommendation and, ideally, recommend getting both and enjoying the differences in the performances. Total Playing Time on Rodin/Krimets = 71:40. Total Playing Time on Schiff/Shostakovich = 61:16.



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