E 3079 M 2314

CONCERTO FOR PIANO , TRUMPET and

STRINGS Op. 35 MENAHEM PRESSLER, Piano

HARRY GLANTZ, Trumpet

MGM ORCHESTRA CONDUCTED BY

THEODORE BLOOMFIELD

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PIANO SONATA NO.2 IN B MINOR

Op. 64

MENAHEM PRESSLER

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SHOSTA NN ( CONCERTO FOR PIANO, TRUMPET AND STRINGS, Op. 35

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WITH

Harry Clant: TRUMPETER

The M-G-M Orhesha CONDUCTED BY

Sheodore B The Concerto for Piano, trumpet, and Strings, Op. 35 was probably composed simul- taneously with Shostakovitch’s delightful Twenty-Four Preludes For Piano, Op. 34

(recorded by Menahem Pressler in complete form in MGM E3070). Inevitably, the

two works share certain stylistic similarities. In spite of their central idea of fol-

lowing the cycle of the major and minor keys in traditional fashion, the Preludes

eschew formalism; the Concerto makes perhaps a more careful obeisance toward

the traditional structure of the classical concerto—then it passes along on its merry

way. In certain respects, an analyst of the music might judge it to be possessed

of a split personality—sections of gravely serious, genuinely moving expressivity

are matched to others designed seemingly strictly for fun. A quick appraisal of

the work can only turn up a confused estimate of its content. At times, it seems

nothing more than an out-and-out “spoof” of the display concerto of the romantic

era—then again, emotion and drama as intense in effect as anything in the com-

poser’s symphonies appear to rule out that quality as the essential intention of the

piece. One is tempted to explain these seemingly-opposed elements by placing the

Concerto among the “popular” or “utilitarian” efforts of Shostakovitch in his role

as the ideal Soviet composer of uncomplicated music for the masses. This explana-

tion, too, seems a bit too casual. All of the diverse components of the work fall into

place to form an unmistakable minor masterpiece of modern music. The key to the

Concerto probably lies in the title itself. Shostakovitch has designed a “concerted”

work almost in the classic sense of the concerto grosso, a work in which two bodies

of sound are pitted against each other for effects of brilliance. In this connection,

the scoring seems to provide a further clue: the Concerto is conceived on a modest,

almost classical scale. Thus, the musical “friction” between the two main instru-

mental factors is at once more easy to produce and more apparent to the listener.

The scoring could not be accidental: Shostakovitch had too many fine orchestral

scores of ambitious scope behind him to choose idly a string ensemble rather than

loomfteld an orchestra as the accompanying body for a piano concerto. And, as one of the

finest concert pianists in Russia today, he definitely knows the inner workings of .

the grand-scaled concerto. If one admits the idea that the Concerto is patterned

on a concerto grosso formula (and perhaps even follows the idea of that form to

the extent that musical ideas as well as musical effects are placed in opposition for

purposes of producing a more pointed brilliance), the possibility of satire comes up

again. The general approach of the Preludes might prove helpful here. The opposed

elements of the Concerto might be equated with the eclecticism of the Preludes.

In the latter case, the obvious echoings of the styles of composers of the past are

carefully and successfully digested and come forth in a peculiarly personal fashion.

The “opposed” elements of the Concerto would seem thus to be elements chosen

specifically to provide the basis or departure point for a certain personalism of

comment, to provide subject matter for the imagery of a personalized vocabulary.

The Concerto contains the same purposeful banality of the Preludes—the purpose

adding up to more than an attempt at nose-thumbing and a bid at audience applause.

Parody of this sort is nothing if not commentary. And yet, the effect is not neces-

sarily satire as such, but rather diversion. If diversion is the purpose, the composer

serves it well. The piano part is unusually brilliant—it exploits every nook and

cranny of the keyboard, with, as might be expected of Shostakovitch, especial

attention to the extreme bass and extreme treble registers. The solo trumpet is

obviously thrown in to add further shine to that gleaming brilliance. Meanwhile,

the strings keep the two solo instruments on their toes—usually through provoca-

tive argument, occasionally through excited agreement. Often, humor or levity

points up serious ideas more perfectly than gravity ever could. This seems the

approach of the Concerto. It is certainly a “major” enunciation of its composer but

his statement definitely comes through in a more charming fashion than many of

a more weighty cast. The four movements are: 1.) Allegro moderato; 2.) Lento;

3.) Moderato; 4.) Allegro con brio.

SHOSTAROVITOH SONATA No. 2 IN B MINOR, OP. 64

Menahem SPresster, PIANIST

The Second Piano Sonata stands in striking contrast to the Concerto. It is conceived

on a really ambitious scale and packs tremendous drama within its near-half-hour

length. This is the Shostakovitch of the first and fifth symphonies rather than

the Shostakovitch of The Age of Gold. The work was written in 1943 and repre-

sented the composer’s first effort for solo piano since the Preludes of 1935.It isin

the key of B minor, except for the second movement which is cast in A flat. The

-first movement, marked Allegretto is at once a virtuosic display piece and an intense

comment upon the emotional climate of the early years of World War IL. dn this

latter respect, the function of the march-like main theme is unmistakable. The

second movement is a serene Largo, quiet, moody, economically written. Shosta-

kovitch has rarely reached such heights of expressivity as here. The last movement,

Moderato (con moto), is a monumental set of variations upon a haunting, folk-like

theme. Throughout the thirteen minutes of the movement, the tension never re-

laxes. The basic melody makes a long journey intellectually and emotionally as well

as musically. The familiar keyboard style of the composer allots the work a per-

sonalized atmosphere, but the inherent percussiveness of that style seems softened

a bit in comparison to earlier works like the First Piano Sonata, Op. 12 and sec-

tions of the Preludes. *% ¥ *

MENAHEM PRESSLER, the brilliant young Israeli pianist, has become a familiar figure to

concert-goers and record-collectors since his introduction to the American public in 1946.

This M-G-M Long-Playing Microgroove Record

At the time of San Francisco’s first International Music Contest in the Fall of that year,

he flew here from his homeland under the sponsorship of impressario Max Rabinoff. He

arrived just one day before the event and carried off the Debussy Award for excellence

in performing the music of that composer. He was introduced to concert audiences during

the next season with great success. Virgil Thomson has written of him: “...a pianist of

ample technique... and firm musicianship. He reminds one as he plays of Rudolf Serkin

for he has taste and tone, poetry and precision, fire, temperament, delicacy, and an intel-

“lt eee Maite rare among soloists.” Mr. Pressler, an exclusive MGM artist, may also

e heard in:

FALLA: Fantasia Baetica, Four Spanish Pieces, etc. — MGM E3071.

DEBUSSY: La Boite & joujoux (‘The Box Of Toys’) with IBERT: Histoires — MGM E3042,

BARTOK: For Children (Vol. I — 40 Pieces On Hungarian Folk-Tunes) — MGM E3009.

BARTOK: For Children (Vol. II — 39 Pieces On Slovakian Folk Tunes) — MGM E3047.

DEBUSSY: Estampes; 2 Arabesques; Réverie; La Plus que lente — MGM E178.

SCHUMANN: 3 Romances and Blumenstiick > MENDELSSOHN: Variations Sérieuses and Rondo Capriccioso — MGM E8029.

PROKOFIEFF: Music For Children, Op. 65; SHOSTAKOVITCH: 6 Children’s Pieces; BLOCH: Enfantines; MILHAUD: White Keys and Black Keys; STARER: Lullaby for Amittai — MGM E3010.

SHOSTAKOVITCH: The Twenty-Four Preludes For Piano, Op. 34 — MGM E3070.

Piano Concerto, Op. 35 and Sonata No. 2, Op. 64 - E3079

SHOSTAKOVITCH

The device of a lion's head and the letters M-G-M are registered in the United States Patent

Office as a trade-mark of Loew‘s Incorporated. Printed in U.S.A,

is designed for reproduction on turntables

revolving at 3317/3 revolutions per minute, E3079 OP I ® yee S

and Strings, Op. 35” icerto for Pia

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