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Dmitri Shostakovich: Cello Concertos Nos. 1 & 2

97777 - Dmitri Shostakovich: Cello Concertos Nos. 1 & 2

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Challenging virtuosity, boundless energy and an emotional panorama ranging from a lament to an incandescent march – Dmitri Shostakovich’s two cello concertos are intimate, confessional works, played here by Marc Coppey with probing intensity in a live recording.more

"Wir sind hier weit entfernt von kargen und düsteren Stimmungen anderer Interpretationen. [...] Coppey spielt ohne jede Verbissenheit, ohne jene dramatischen Gesten [...] und es tut gut, dieses Konzert mal wieder aus einer solchen Perspektive zu hören." (Pizzicato)

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Dmitri Shostakovich Cello Concerto No. 1 in E-Flat Major, Op. 107 (27:58) Marc Coppey | Polish National Radio Symphony Orchestra (NOSPR) | Lawrence Foster

Dmitri Shostakovich Cello Concerto No. 2 in G Minor, Op. 126 (32:09) Marc Coppey | Polish National Radio Symphony Orchestra (NOSPR) | Lawrence Foster

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This live recording of the two Shostakovich cello concertos continues audite's successful cooperation with Marc Coppey, who approaches both works with boundless energy and without any sentimentality.

Dmitri Shostakovich wrote two concertos for the cello, and both are dedicated to the most eminent Soviet cellist of his time: Mstislav Rostropovich. In 1959 he wrote his first cello concerto, whose musical language is almost classical but which also reveals an enormous panorama of moods, gestures and "stories"Seven years later, Shostakovich composed his second concertoit builds on the confessional intensity of the first concerto but seems gloomier in character and is infused with threnodic tones.
In this concert recording, Coppey performs alongside the Polish National Radio Symphony Orchestra under the baton of Lawrence Foster in the new Katowice concert hall.


In addition to his existing international activities, Marc Coppey has been appointed Artistic Director of the newly founded Saline Royale Academy, which organizes and produces master classes and concerts with top international artists and puts them online. In 2021, he will be Artist in Residence at the Orquestra Sinfónica do Porto Casa da Música in Portugal, where he will perform the cello concertos by Elgar, Dvořák, Shostakovich, Rhim and Dutilleux, among others. 
Also in 2021, he will release his next CD on audite, dedicated to works by Kodály (Solo Sonata, Sonata for Cello and Piano, Duo for Cello and Violin); partners of Marc Coppey are Barnabás Kelemen (violin) and Matan Porat (piano). And the next recording project is already fixed, tooin April 2021Coppey will record the solo concertos of Saint-Saëns and Lalo for audite, as well as Fauré's "Elégie" and Boëllmann's "Variations Symphoniques"

Reviews

www.pizzicato.lu | 08/01/2021 | Remy Franck | January 8, 2021 | source: https://www.pizz... Shostakovich in hellerem Kleid

Shostakovich hat seine beiden Cellokonzerte für Mstislav Rostropovich geschrieben. Auch wenn das erste (op. 107 aus dem Jahre 1959) virtuoser ist alsMehr lesen

Shostakovich hat seine beiden Cellokonzerte für Mstislav Rostropovich geschrieben. Auch wenn das erste (op. 107 aus dem Jahre 1959) virtuoser ist als das zweite, das während eines Sanatoriumsaufenthalts des Komponisten im April 1966 entstand, so sind beide Werke von bemerkenswerter Tiefe und einer großen emotionalen Dichte.

Marc Coppey startet das 1. Konzert ungemein gut gelaunt und frei von Schärfen, die andere Interpreten, Dirigenten inklusive, dieser Musik gegeben haben. Das folgende Moderato bleibt in meditativem Charakter von großer Zartheit und menschlicher Wärme, die auch Lawrence Foster im Orchester betont. Wir sind hier weit entfernt von kargen und düsteren Stimmungen anderer Interpretationen. Die Kadenz wird genau so wenig geschärft und eher lyrisch ausgespielt, verliert aber auch bei dieser Lesart nichts an emotionaler Wirkung. Coppey spielt ohne jede Verbissenheit, ohne jene dramatischen Gesten, mit denen andere Cellisten die Kadenz zum Drama machen. Auch das Finale wird gelöst und quasi burlesk ausgespielt, ohne Schärfe, ohne Aufschreien und bekommt so einen durchwegs positiven Charakter.

Und es tut gut, dieses Konzert mal wieder aus einer solchen Perspektive zu hören, ohne aufgewühltes Seelendrama. Ohne Sarkasmus und beißende Ironie und dennoch auch nicht mit bloßer Virtuosität, die elegant jede wie auch immer geartete Gefühlswelten umschiffen würde.

Die Musik des 2. Cellokonzerts muss vom Interpreten nicht noch zusätzlich belastet werden, und das haben sich Coppey und Foster zu Herzen genommen. Sie spielen zwar einerseits das Lyrische, andererseits das Dramatische voll aus, aber sie pointieren es nicht. Wo immer es möglich ist, legen sie Wert auf Nachdenklichkeit, auf Verinnerlichung, aber ohne verbohrten Sarkasmus, ohne jenen düsteren Biss, der das Konzert so ergreifend machen kann. Haben die Interpreten dieser Aufnahme also gefehlt, an Shostakovich vorbei gespielt? Ich glaube nicht. Sie haben andere Gefühlswelten betont und gerade das ist so interessant. Die Intensität der Musik ist auch so stark genug um den Hörer zu packen und ihm neue Aspekte in Shostakovichs Konzerten zu zeigen. Nichts klingt falsch hier, nichts manieriert.

Shostakovich wrote his two cello concertos for Mstislav Rostropovich. Even if the first (op. 107 from 1959) is more virtuosic than the second, which was written during the composer’s stay in a sanatorium in April 1966, both works are of remarkable depth and enormous emotional density.
Marc Coppey starts the First Concerto in an uncommonly good mood and free of the sharpness that other interpreters, conductors included, have given this music. The following Moderato remains in meditative character of great tenderness and human warmth, also emphasised by Lawrence Foster in the orchestra. We are far from the barren and sombre moods of other interpretations. The cadenza is just as little sharpened and rather lyrically played, but loses nothing of its emotional impact. Coppey plays without any doggedness, without those dramatic gestures with which other cellists turn the cadenza into a drama. The finale, too, is played in a relaxed and quasi burlesque manner, without sharpness, without any screaming and thus acquires a thoroughly positive character.
And it is good to hear this concerto from such a perspective, without the emotional drama, without sarcasm and biting irony, and yet not with mere virtuosity, which would elegantly ignore any kind of emotion.
The music of the Second Cello Concerto does not need to be additionally burdened by the interpreter, and Coppey and Foster have taken this to heart. Their performance is lyrical and also dramatic, but they do not accentuate it. Wherever possible, they emphasise thoughtfulness and introspection, but without obdurate sarcasm, without that sombre bite that can make the concerto so poignant. So did the performers of this recording misunderstand Shostakovich? I don’t think so. They have emphasised other feelings and that is precisely what is so interesting. The intensity of the music is strong enough to grab the listener and show him new aspects of Shostakovich’s concertos, without giving it a false or mannered character.
Shostakovich hat seine beiden Cellokonzerte für Mstislav Rostropovich geschrieben. Auch wenn das erste (op. 107 aus dem Jahre 1959) virtuoser ist als

The Art Music Lounge | DECEMBER 7, 2020 | Lynn René Bayley | December 7, 2020 | source: https://artmusic... Coppey Plays Shostakovich

On this disc, French cellist Marc Coppey applies his talents toMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
On this disc, French cellist Marc Coppey applies his talents to

Merchant Infos

Dmitri Shostakovich: Cello Concertos Nos. 1 & 2
article number: 97.777
EAN barcode: 4022143977779
price group: BCA
release date: 8. January 2021
total time: 60 min.

News

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Jan 21, 2021
Review

The Art Music Lounge
Coppey Plays Shostakovich
Jan 8, 2021
Info

Shostakovich's "Allegretto" from Cello Concerto No. 1 in E-Flat Major, Op. 107 was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 8th until 14th December (#17/49)
Jan 8, 2021
Info

Shostakovich's "Allegretto" from Cello Concerto No. 1 in E-Flat Major, Op. 107 was added to iTunes and Apple Music Playlist 'Modernism and Postmodernism' in Germany and other countries (#18/50).
Jan 23, 2021
Info

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Jan 11, 2021
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5/5 Noten - Dmitri Shostakovich: Cello Concertos Nos. 1 & 2
Jan 11, 2021
Review

www.pizzicato.lu
Shostakovich in hellerem Kleid
Jan 1, 2021
Info

Note 1 music: new releases (January 2021)
Dec 18, 2020
Info

Shostakovich's "Cadenza" from Cello Concerto No. 1 in E-Flat Major, Op. 107 was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 18th until 24th December (#19/42)
Dec 11, 2020
Info

Shostakovich's "Allegro con moto" from Cello Concerto No. 1 in E-Flat Major, Op. 107 was added to Deezer's Playlist "classical new releases" (#35/50).
Dec 4, 2020
Info

Shostakovich's "Allegretto" from Cello Concerto No. 2 in G Minor, Op. 126 was added to iTunes and Apple Music Playlist 'Modernism and Postmodernism' in Germany and other countries (#1/50).
Dec 4, 2020
Info

Shostakovich's "Allegretto" from Cello Concerto No. 2 in G Minor, Op. 126 was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 4th until 10th December (#34/66)
Nov 20, 2020
Info

Shostakovich's "Allegro con moto" from Cello Concerto No. 1 in E-Flat Major, Op. 107 was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 20th until 26th November (#52/68)
Nov 20, 2020
Info

Shostakovich's "Allegro con moto" from Cello Concerto No. 1 in E-Flat Major, Op. 107 was added to iTunes and Apple Music Playlist 'Modernism and Postmodernism' in Germany and other countries (#1/50).
Oct 26, 2020
Info

Shostakovich's "Cadenza" from Cello Concerto No. 1 in E-Flat Major, Op. 107 was pitched for different Curated Classical Playlists
Oct 26, 2020
Info

Shostakovich's "Allegretto" from Cello Concerto No. 2 in G Minor, Op. 126 was pitched for different Curated Classical Playlists
Oct 26, 2020
Info

Shostakovich's "Allegro con moto" from Cello Concerto No. 1 in E-Flat Major, Op. 107 was pitched for different Curated Classical Playlists

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