Album insights
Sergei Prokofiev and Dmitri Shostakovich are often linked in music history books, possibly due to geography and chronology rather than a deep musical bond. Despite their different personalities, similarities can be found in their musical expressions. Both concertos, primarily viewed as passionate anti-romantic works, connect through distinctive features. Rather than a traditional, poetic role, the cello in these works embodies a warrior in a dark, colossal world. This transformation is revolutionary, potentially influencing future composers.
Prokofiev's journey in crafting the E minor Cello Concerto, Op. 58, was complex and somewhat mysterious. Meeting the Russian cellist Gregor Piatigorsky in the early 1930s sparked the concerto's creation. Encouraged by Piatigorsky and conductor Sergei Koussevitzky, Prokofiev initially displayed interest in the idea of a cello concerto. However, challenges arose during the composition phase, especially when Prokofiev decided to return to the Soviet Union. The contact between the artists became sporadic, and the concerto faced initial failures during its premiere. Despite setbacks, Prokofiev viewed the work positively, defending it against critics' indifference with typical disdain.
The concerto faced years of neglect until a revival effort in the 1940s, with Maurice Gendron being the first to record it. Despite revision attempts, Prokofiev reimagined the concerto as the more popular "Symphony-Concerto," distancing it from its original format. The Symphony-Concerto's success overshadowed the Cello Concerto due to various factors, including Rostropovich's involvement, Prokofiev's evolving response to audience reception, and external pressures influencing his later works. The Symphony-Concerto navigated political tensions, unlike the Cello Concerto, which emerged relatively free from such constraints—a bold, challenging creation that deserves recognition.
Both Prokofiev's and Shostakovich's cello concertos echo theatrical elements and themes of conflicting forces, light versus darkness, and good versus evil. Prokofiev's concerto opens dramatically, mirroring a heroic tale, while Shostakovich's anti-heroic approach presents a narrative of defeat by malevolent forces. The works showcase contrasting emotions through evocative compositions, showcasing the struggles of the protagonists within their musical narratives.
In conclusion, Prokofiev's and Shostakovich's concertos exemplify unique and compelling musical storytelling, each with its distinct character and complexities. The intricate compositions, from haunting themes to dynamic variations, offer a voyage through heroism, adversity, and resilience, leaving a lasting impression on listeners.
Steven Isserlis © 2015