SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello...

18
1 SHOSTAKOVICH Cello Concerto No. 1 Symphony No. 9 LIADOV Baba Yaga The Musical Snuff Box Kikimora The Enchanted Lake Ballade LYNN HARRELL, cello Seattle Symphony Gerard Schwarz

Transcript of SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello...

Page 1: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

16 1

SHOSTAKOVICHCello Concerto No. 1

1 Allegro ................................................................6:30

2 Moderato ........................................................10:25

3 Cadenza ............................................................. 5:19

4 Allegro con moto .............................................4:38

Symphony No. 9, Op. 70

5 Allegro ................................................................5:25

6 Moderato .......................................................... 7:49

7 Presto .................................................................2:58

8 Largo ..................................................................2:50

9 Allegretto - Allegro .........................................6:27

LIADOV0 Baba - Yaga, Op. 56 .......................................3:24

! The Musical Snuff Box, Op. 32 ................... 2:12

@ Kikimora, Op. 63 ............................................8:25

# The Enchanted Lake, Op. 62 ....................... 7:22

$ Ballade, Op. 21b ..............................................6:40

Total time: ............................................................. 79:56

Horn solo in Shostakovich Cello Concerto: John Cerminaro

Cello by Christopher Dungey 2008Bow by Paul Simon, Paris ca. 1850Strings by Pirastro: Passione & Olive Rosin by Andrea

[email protected] www.artekrecordings.com

℗ © 2011 ARTEK. All rights reserved.Unauthorized duplication is a violation of applicable laws.Disc Made in Canada. Printed and Assembled in USA.

SHOSTAKOVICHCello Concerto No. 1

Symphony No. 9

LIADOVBaba Yaga

The Musical Snuff BoxKikimora

The Enchanted LakeBallade

LYNN HARRELL, cello

Seattle SymphonyGerard Schwarz

Page 2: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

2 15

I remember as though it were yesterday, when Rostropovich came to Philadelphia in 1960 to give the American premiere of Shostakovich’s first cello concerto with

Eugene Ormandy. It was of course a cyclone of energy, power and communication. In the days following, Slava, as he is affectionately known in our cellistic community, recorded the work with Shostakovich in attendance. This version is still available on CD. Of course, the work is so closely associated with Slava that critics still to this day use this version as a benchmark for all succeeding cellists’ performances and recordings. His influence as a performer and interpreter of the work is becoming less strong, however, as the dynamic personalities of succeeding cellists have taken over and are making changes in the aesthetic approach. This is all natural and mostly desirable. When one imagines how Joseph Joachim first played the Brahms concerto, we would have to recognize that violinists today perform the work with similarities and differences major and minor.

However, there are certain implications in the music that should not be removed from a performance even if they come from a more remote time. Shostakovich’s fear of living in the Stalinist Soviet Union should still be evident in this great work. We do know, for instance, that Dmitri Shostakovich admired and would have loved to write music following in the footsteps of Hindemith, Krenek, Berg and Bartok. He knew that the bureaucrats who were in charge would not tolerate this. So, the artist had no choice but to conform to the prevailing tastes. Shostakovich had a small suitcase under his bed packed with essentials for the distinct possibility that at any moment the KGB police would come and take him away. We know a number of examples where someone would wake up one morning and their neighbors “disappeared” in the middle of the night with no word left to family or friends. All the furniture and belongings were gone. Where they were taken was not known. We know that Siberia and the Gulag were very active during this time, holding prisoners and so called enemies of the State.

Gerard Schwarz has a vast repertoire that includes major commitments to Germanic, Russian and American music. He has been Music Director of Seattle

Symphony since 1985, and also serves as Music Director of the Eastern Music Festival. Previously, he has served as Music Director of New York’s Mostly Mozart Festival, the Royal Liverpool Philharmonic Orchestra, Los Angeles Chamber Orchestra and New York Chamber Symphony, as well as Artistic Advisor to Tokyu Bunkamura with the Tokyo Philharmonic. His considerable discography of over 300 releases showcases his collaborations with some of the world’s greatest orchestras, including the Philadelphia Orchestra, the Czech Philharmonic, the London Symphony, Berlin Radio Symphony, Orchestre National de France, Tokyo Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and Seattle Symphony, among others. Born to Viennese parents, Schwarz has served on the National Council on the Arts. He has received two Emmy Awards, thirteen GRAMMY® nominations, six ASCAP Awards, and numerous Stereo Review and Ovation Awards. In addition, he holds the Ditson Conductor’s Award from Columbia University, was the first American named Conductor of the Year by Musical America, and has received numerous honorary doctorates, including one from his alma mater, The Juilliard School. In 2002, the American Society of Composers, Authors and Publishers honored Schwarz with its Concert Music Award, and, in 2003, the Pacific Northwest branch of the National Academy of Recording Arts & Sciences gave Schwarz its first “IMPACT” lifetime achievement award.

Page 3: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

14 3

In June, 2010 along with his wife, violinist Helen Nightengale, he was appointed Artist Ambassador to Save the Children’s HEART campaign. As a direct result of that appointment he and his wife, Helen, founded the HEARTbeats Foundation. A 501(c) charity based in Los Angeles, the HEARTbeats Foundation strives to help children in need harness the power of music to better cope with, and recover from, the extreme challenges of poverty and conflict, in hope of creating a more peaceful, sustainable world for generations to come. Mr. Harrell serves as a board officer and Artist Ambassador, a capacity that allows him to work directly with children in need.

Lynn Harrell was born in New York to musician parents. He began his musical studies in Dallas and proceeded to the Juilliard School and the Curtis Institute of Music. He is the recipient of numerous awards, including the first Avery Fisher Award.

Mr. Harrell plays a 1720 Montagnana. He makes his home in Santa Monica, CA.

We find in this concerto defiance in its musical power. In the first movement Shostakovich uses his initials (DSCH) as a transliteration of the letter notes, D for D natural, S for Es (German for E-flat), C for C, H for B natural (again from the German.) This “signature” was used in the 8th string quartet as well, and it is brandishing his spirit over and over underneath what might seem like jocular music. In the cello concerto these notes and their permutations reveal themselves under close scrutiny over 300 times. I think it’s the most powerful movement since the 5th symphony of Beethoven. The 2nd movement’s harmony has become less stringent through time, and its underlying desperation and cold fear have been replaced by warmth and the luxury of simple sadness. The metronomic indication shows however, that it is meant to move along, which avoids sentimentality, but to be cold and frightening. When I performed the concerto with Kurt Sanderling, a close friend of Shostakovich, he showed to the orchestra at the beginning of this movement a facial expression, wide eyed with hunched shoulders, and biting his quivering fingernails. He didn’t have to say anything else. The atmosphere of frozen apprehension and fear was communicated perfectly.

The third movement is a long extended cadenza much like the first violin concerto. In this movement we hear quotes from the earlier movements, and a tight musical structure held together by timpani–like pizzicato chords.

The last movement on the surface is a pleasant, joyful dance but underneath is irony, disgust, and even a bit of glaring low-class ugliness. The crucial moment in the movement is when the orchestra takes off from the soloist in triple meter instead of duple. This place is of particular interest because the performance tradition has always been to play it markedly slower than Shostakovich’s tempo indication. Once, when I was performing with the Philadelphia orchestra, Mason Jones, the legendary solo hornist in those concerts, told me a personal anecdote. He said Shostakovich was never happy with this section of the last movement; it was too “Viennese” and not fast enough. Surely if one does what Shostakovich asks through the indications in the score, they will

Page 4: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

4 13

find it a very difficult section to play and bring off. It is not comfortable. However, at this speed the music connects perfectly to the return of the theme from the first movement. One can argue that this discomfort is part of the manic, crazed energy of this final four and one half minutes of work. We cellists should also remember that Rostropovich was the most active performer and commissioner of new music of anyone in history. He gave us great masterpieces, but also the entire musical concert-going public great works that would not have existed without him. I feel deeply proud that I play the same instrument as such a dynamic figure in musical history.

Itzhak Perlman and Pinchas Zukerman, performing an excerpt from their Grammy-nominated recording of the complete Beethoven String Trios (Angel/EMI).

Highlights from an extensive discography of more than 30 recordings include the complete Bach Cello Suites (London/Decca), the world-premiere recording of Victor Herbert’s Cello Concerto No. 1 with the Academy of St. Martin in the Fields led by Marriner (London/Decca), the Walton Concerto with Rattle and the City of Birmingham Symphony Orchestra (EMI), and the Donald Erb Concerto with Slatkin and the Saint Louis Symphony (New World). Together with Itzhak Perlman and Vladimir Ashkenazy, Mr. Harrell was awarded two Grammy Awards – in 1981 for the Tchaikovsky Piano Trio and in 1987 for the complete Beethoven Piano Trios (both Angel/EMI). A recording of the Schubert Trios with Mr. Ashkenazy and Pinchas Zukerman (London/Decca) was released in February 2000. His May 2000 recording with Kennedy, “Duos for Violin & Cello,” received unanimous critical acclaim (EMI). Most recently, Mr. Harrell recorded Tchaikovsky’s Variations for Cello and Orchestra on a Rococo Theme, Shostakovich’s Cello Concerto No. 2, and Prokofiev’s Sinfonia Concertante with the Royal Liverpool Philharmonic, Gerard Schwarz conducting (Classico).

Lynn Harrell’s experience as an educator is wide and varied. From 1985-93 he held the International Chair for Cello Studies at the Royal Academy in London. Concurrently, from 1988-92, he was Artistic Director of the orchestra, chamber music and conductor training program at the L.A. Philharmonic Institute. In 1993, he became head of the Royal Academy in London, a post he held through 1995. He has also given master classes at the Verbier and Aspen festivals and in major metropolitan areas throughout the world. From 2002-2008, Mr. Harrell taught cello at Rice University’s Shepherd School of Music.

Page 5: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

12 5

Lynn Harrell’s presence is felt throughout the musical world. A consummate soloist, chamber musician, recitalist, conductor and teacher, his work throughout the

Americas, Europe and Asia has placed him in the highest echelon of today’s performing artists.

Mr. Harrell is a frequent guest of many leading orchestras including Boston, Chicago, New York, Philadelphia, San Francisco, Ottawa, Pittsburgh, and the National Symphony, and in Europe the orchestras of London, Munich, Berlin, Tonhalle and Israel. He has also toured extensively to Australia and New Zealand as well as the Far East, including Japan, Korea, Malaysia, Taiwan and Hong Kong. In Hong Kong, Mr. Harrell was featured in a three-week “Lynn Harrell Cello Festival” with the Hong Kong Philharmonic. He regularly collaborates with such noted conductors as James Levine, Sir Neville Marriner, Kurt Masur, Zubin Mehta, André Previn, Sir Simon Rattle, Leonard Slatkin, Yuri Temirkanov, Michael Tilson Thomas and David Zinman.

In recent seasons Mr. Harrell has particularly enjoyed collaborating with violinist Anne-Sophie Mutter and pianist, André Previn, both in chamber music concerts as well as performing the Beethoven Triple Concerto as they first did in January 2004 with the New York Philharmonic, Maestro Masur conducting.

An important part of Lynn Harrell’s life is summer music festivals, which include appearances at the Verbier Festival in Switzerland, the Aspen and Grand Tetons festivals, and the Amelia Island Festival.

On April 7, 1994, Lynn Harrell appeared at the Vatican with the Royal Philharmonic in a concert dedicated to the memory of the six million Jews who perished in the Holocaust. The audience for this historic event, which was the Vatican’s first official commemoration of the Holocaust, included Pope John Paul II and the Chief Rabbi of Rome. That year Mr. Harrell also appeared live at the Grammy Awards with

Symphony No. 9 in E-flat Major, Op. 70Dmitri Shostakovich

The career of Dmitri Shostakovich (1906-1975) spanned most of the existence of the former Soviet Union, and both the composer’s life and his work were intimately bound up with the historic events that buffeted his country and its people during much of the twentieth century. Shostakovich was still a boy when revolutions toppled the Czarist monarchy that had ruled Russia for centuries and replaced it with the world’s first communist government. He was, at this time, already a precociously accomplished pianist, and he would go on to develop both his command of the keyboard and his skill as a composer during years of study at the Saint Petersburg Conservatory.

Shostakovich achieved early success as a composer. His First Symphony, written while he was still enrolled at the Conservatory, was performed not only in Russia but, soon, in Berlin and America by such esteemed conductors as Bruno Walter and Leopold Stokowski. This and other triumphs quickly established Shostakovich as the leading composer in the young Soviet Union.

As a Soviet citizen, Shostakovich evidently understood that he had a duty to advance socialist ideals and support the communist regime. This he did in numerous compositions written to patriotic texts. His Second and Third symphonies, respectively titled “To October” and “May Day,” took the form of large-scale patriotic hymns. Other works — choral songs, ballets, and more — gave the impression of Shostakovich as a dutiful socialist musician.

At the same time, Shostakovich was eager to explore the new tonal language being developed by such Western modernists as Berg and Hindemith. Initially, there was no serious conflict between that desire and the notion of what it meant to be a Soviet artist, and the composer’s creativity flourished in the liberal atmosphere that prevailed in the

Page 6: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

6 11

Soviet Union during the decade following the Revolution of 1917. But beginning in the 1930s, with Stalin’s consolidation of power, the nation’s cultural circumstances grew far more constrained.

The new conservatism affected Shostakovich directly. Twice, in 1936 and 1948, he came under official attack for “formalist” (meaning modernist) tendencies. On both occasions the composer responded with public apologies. Thereafter, he maintained an uneasy and ambivalent relationship with the Soviet government. At times he seemed to play the loyal functionary, writing patriotic hymns to socialism and attending Party gatherings. He even joined the Communist Party in 1960. On the other hand, Shostakovich was sometimes out of favor with the regime, and a number of people who knew him contend that he cooperated with his government only out of fear.

Stalin’s government was not the only danger Shostakovich faced during the course of his life. As a resident of Leningrad (as Saint Petersburg had been renamed by the Soviet government), he endured the first part of the long siege of the city by German forces following Hitler’s invasion of Russia, in 1941. Shostakovich helped defend his native city as a firewatch, and in his spare time sketched his Seventh Symphony, a musical portrayal of the Battle for Leningrad. The completed score of the “Leningrad” Symphony was copied onto microfilm and secretly transported to the West, where it attracted enormous attention as an emblem of Soviet resistance to the Nazi invasion.

Shostakovich survived the war and the perils of life under Russia’s communist regime to have an extraordinarily productive career. His large body of work includes songs, piano pieces, theater music, works for various small ensembles, and most notably fifteen symphonies, an equal number of string quartets, and concertos for piano, violin and cello.Shostakovich’s Ninth is, in both its duration and sonic weight, the smallest of the composer’s fifteen symphonies. It is also the most cheerful (“a merry little piece,” its

the tempo accelerates, and the music embarks on a wild ride, with vivid and unusual sonorities conveying a supernatural character. The brilliant orchestration gives some idea why Liadov was so admired by his contemporaries.

In a quite different vein, but still evoking a world far removed from everyday reality, is The Musical Snuff Box, Op. 32. Liadov composed this charming miniature in 1893, initially as a piano piece for his young son. Four years later he arranged the music for an ensemble of flutes, clarinets and glockenspiel. The piece, an ornate waltz in somewhat antique style, is meant to evoke the sound of an eighteenth-century snuff box. Such boxes, which were popular among wealthy Europeans at the time, often were fitted with spring-driven mechanisms that played short tunes — in other words, they were what we now call music boxes. Liadov’s scoring approximates the tinkling sound of this kind of device, and his unusual character indication at the head of the score, “Automaticamente,” emphasizes the artifice the music suggests.

Another piece originally written as a piano solo but subsequently transcribed for orchestra is the Ballade, Op. 21b. Composed in 1889 and orchestrated in 1906, this work bears a subtitle that translates “Of Olden Times.” It begins with a moderately paced introductory passage whose bardic tone seems indeed to be dreaming of a bygone era. Here the original piano conception is evident in the prominent part for that instrument within the orchestra. The main body of the composition is given over to more energetic ideas, the principal one — a broad idea introduced by the orchestral strings — evoking the sound of Russian folk song. Although this portion of the work is less obviously nostalgic than the prologue, it still manages to evoke an idealized past in music that is by turns bucolic, romantically heroic and, for a brief few moments near the close, given to gentle reverie.

Page 7: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

10 7

Liadov made a number of attempts to write an opera based on stories from Russian folk tales, with their magical creatures and supernatural events, but his dilatory habits continually thwarted him. After three decades of intermittent work, he had only a handful of sketches to show for his efforts. Finally, he abandoned his operatic ambitions, recasting some of what he had written as the tone poem The Enchanted Lake.

First performed early in 1909, The Enchanted Lake bears the subtitle “A Legendary Picture.” That description fits the music well. The work conveys no programmatic narrative but, rather, evokes a scene of quiet mystery and shimmering beauty appropriate to its title. Liadov opens and closes the piece with quiet rustling in the muted string instruments. (It is indicative of the music’s hushed atmosphere that the strings play with mutes throughout.) Just a handful of other motifs complete the compositional materials from which Liadov creates the work: a brief chirruping from the flutes; a short phrase in gently lilting rhythms, assigned mainly to the winds; a few dabs of harp, celesta and horn color. These are seductive rather than imposing musical ideas, and Liadov blends them with ambiguous harmonies to create a luminous, impressionistic soundscape. The music is remarkable for its delicacy and restraint. Hardly any other composer of his era would have dared to avoid dramatic utterance in favor of quiet iridescence as completely as Liadov does here.

Kikimora, also composed in 1909 and also using some of Liadov’s abandoned opera music, concerns another legendary witch. Kikimora, it was told, was raised by a sorceress deep in the mountains. There she listened from dawn to dusk as the sorceress’s magic cat told tales of fantastic happenings in far-off lands. In seven years, Kikimora grew to her full stature, but she was always thin as straw, her head as small as a thimble. She haunted the homes of Russian peasants and villagers, tormenting them with whistling and cackling. Every night she would sit and spin, nurturing her spite and malice for humanity.

Liadov’s tone poem is essentially a musical portrait of Kikimora, one that follows somewhat the design of Baba-Yaga. Its initial pages establish a lugubrious atmosphere, with somber harmonies and a melancholy tune presented by an English horn. Soon,

author once called it). This genial character was not Shostakovich’s original intention. He began writing the symphony in the spring of 1945, shortly after the Allied triumph over Germany in World War II, as a grandiose victory celebration. That initial idea suggested a work that was to include solo voices and chorus, and would express a program that Shostakovich described as “the awakening of the masses.” But having made a substantial start on this project, he decided to recast the music on a modest scale.

Shostakovich justified this change by citing the danger of “drawing immodest analogies,” clearly to Beethoven’s Ninth Symphony. (Throughout his life, Shostakovich exhibited a curious combination of pride in his achievement and humility toward other great musicians, particularly those of the past.) The composer had, moreover, recently produced two monumental symphonies — his Seventh, or “Leningrad,” and Eighth — bound in spirit to his nation’s military struggle against Hitler’s armies, and it may be that he simply could not manage yet another heroic work at this time. And so it was a symphony drawn along taut neo-classical lines that Shostakovich unveiled at a concert by the Leningrad Philharmonic on November 3, 1945.

The new composition was warmly received by the audience but drew a mixed reaction from critics. While some appreciated its avoidance of predictable grandiloquence, others attacked it for not adequately expressing the heroic spirit of the Soviet people. Particularly problematic were the elements of gaiety and, at times, ironic humor evident in certain parts of the composition. To those expecting a conventional victory anthem, these qualities seemed an unacceptably frivolous response to a momentous event in Soviet history. But Evgeny Mravinsky, the conductor entrusted with the work’s first performance and a devoted champion of Shostakovich’s orchestral music, pointed out that “not all the symphony is ironic — it contains both tender lyricism and deep sadness.” Shostakovich, as was his habit, remained aloof from the debate and ultimately weathered the critical storm, as he did several other more severe controversies

Page 8: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

8 9

Baba-Yaga, Op. 56The Musical Snuff Box, Op. 32 Kikimora, Opus 63The Enchanted Lake, Op. 62Ballade, Op. 21bAnatol Liadov

Anatol Liadov (1855-1914) was perhaps the most talented Russian composer of the generation between Tchaikovsky and Rimsky-Korsakov, on one hand, and

Rachmaninov and Stravinsky, on the other. He would have achieved more, and would be better known today, but for a lack of ambition. Born in Saint Petersburg into a family of musicians — his father conducted opera and ballet performances — Liadov displayed a tendency to indolence even during his student years, when he was dismissed from the Saint Petersburg Conservatory for failing to attend classes. Eventually, he was readmitted to the school, graduated, and joined its faculty. His imaginative compositions were admired by Mussorgsky, Rimsky-Korsakov, and other musicians, but Liadov shied away from the large-scale works that might have established him as a major figure. He left no opera, symphony or concerto but devoted himself chiefly to songs and short instrumental pieces.

Liadov was at his best when conjuring a fantastic atmosphere. “Art is the realm of the non-existent,” he once declared. “Art is a figment, a fairy tale, a phantom. Give me a legend, a dragon, a water sprite, a forest demon; give me something unreal, and I am happy.” In view of this, it is not surprising that Liadov’s finest work is three tone poems based on Russian folk tales. All three are presented on this recording.

The first, Baba-Yaga, dates from 1904 and takes its title and inspiration from a witch who appears frequently in Russian folk stories. (She also is the subject of one of Modest Musorgsky’s Pictures at an Exhibition.) Among other things, Baba-Yaga is said to fly through the sky in a giant mortar bowl. Liadov’s brief tone poem, a sonic portrait of this demon, accelerates to a headlong rush of music suggesting her flight across the wide Russian sky.

surrounding his work. And the Ninth Symphony has secured a place in the orchestral repertory, both in Russia and elsewhere.

The symphony is laid out in five movements, the last three being connected to form a single span of music. The Allegro with which the work opens recalls the “Classical Symphony” (Symphony No. 1, Op. 25) of Shostakovich’s compatriot Serge Prokofiev. It is built on two main themes: an agile melody announced at the outset by the strings, and a more jocular one presented by the piccolo.

There follows a gentle second movement whose opening section is given over entirely to the woodwinds. A central episode begins with an insistent figure in the muted strings, and Shostakovich juxtaposes this music with the winds’ initial idea during the remainder of the movement.

Next comes a rollicking scherzo launched, as was the previous movement, by the clarinet, an instrument much favored by Shostakovich. The music begins in a vibrant manner but takes an ominous turn when a conspicuous trumpet solo injects a martial element. As the music grows increasingly agitated, it acquires something of the wild and rather surreal character we encounter in many of Shostakovich’s compositions. Eventually the orchestra’s frenzy subsides into a series of strong and austere proclamations by the brass, marking the start of the Largo.

This portion of the work is composed principally of an elegiac bassoon solo, perhaps serving as a reminder of the twenty million Russian lives lost while winning the victory and peace the symphony was written to celebrate. But Shostakovich doesn’t end the work on this mournful note. The last phrase of the bassoon’s lament slips seamlessly into the finale, which is by turns playful, violent and triumphant.

Notes by Paul Schiavo

Page 9: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

8 9

Baba-Yaga, Op. 56The Musical Snuff Box, Op. 32 Kikimora, Opus 63The Enchanted Lake, Op. 62Ballade, Op. 21bAnatol Liadov

Anatol Liadov (1855-1914) was perhaps the most talented Russian composer of the generation between Tchaikovsky and Rimsky-Korsakov, on one hand, and

Rachmaninov and Stravinsky, on the other. He would have achieved more, and would be better known today, but for a lack of ambition. Born in Saint Petersburg into a family of musicians — his father conducted opera and ballet performances — Liadov displayed a tendency to indolence even during his student years, when he was dismissed from the Saint Petersburg Conservatory for failing to attend classes. Eventually, he was readmitted to the school, graduated, and joined its faculty. His imaginative compositions were admired by Mussorgsky, Rimsky-Korsakov, and other musicians, but Liadov shied away from the large-scale works that might have established him as a major figure. He left no opera, symphony or concerto but devoted himself chiefly to songs and short instrumental pieces.

Liadov was at his best when conjuring a fantastic atmosphere. “Art is the realm of the non-existent,” he once declared. “Art is a figment, a fairy tale, a phantom. Give me a legend, a dragon, a water sprite, a forest demon; give me something unreal, and I am happy.” In view of this, it is not surprising that Liadov’s finest work is three tone poems based on Russian folk tales. All three are presented on this recording.

The first, Baba-Yaga, dates from 1904 and takes its title and inspiration from a witch who appears frequently in Russian folk stories. (She also is the subject of one of Modest Musorgsky’s Pictures at an Exhibition.) Among other things, Baba-Yaga is said to fly through the sky in a giant mortar bowl. Liadov’s brief tone poem, a sonic portrait of this demon, accelerates to a headlong rush of music suggesting her flight across the wide Russian sky.

surrounding his work. And the Ninth Symphony has secured a place in the orchestral repertory, both in Russia and elsewhere.

The symphony is laid out in five movements, the last three being connected to form a single span of music. The Allegro with which the work opens recalls the “Classical Symphony” (Symphony No. 1, Op. 25) of Shostakovich’s compatriot Serge Prokofiev. It is built on two main themes: an agile melody announced at the outset by the strings, and a more jocular one presented by the piccolo.

There follows a gentle second movement whose opening section is given over entirely to the woodwinds. A central episode begins with an insistent figure in the muted strings, and Shostakovich juxtaposes this music with the winds’ initial idea during the remainder of the movement.

Next comes a rollicking scherzo launched, as was the previous movement, by the clarinet, an instrument much favored by Shostakovich. The music begins in a vibrant manner but takes an ominous turn when a conspicuous trumpet solo injects a martial element. As the music grows increasingly agitated, it acquires something of the wild and rather surreal character we encounter in many of Shostakovich’s compositions. Eventually the orchestra’s frenzy subsides into a series of strong and austere proclamations by the brass, marking the start of the Largo.

This portion of the work is composed principally of an elegiac bassoon solo, perhaps serving as a reminder of the twenty million Russian lives lost while winning the victory and peace the symphony was written to celebrate. But Shostakovich doesn’t end the work on this mournful note. The last phrase of the bassoon’s lament slips seamlessly into the finale, which is by turns playful, violent and triumphant.

Notes by Paul Schiavo

Page 10: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

10 7

Liadov made a number of attempts to write an opera based on stories from Russian folk tales, with their magical creatures and supernatural events, but his dilatory habits continually thwarted him. After three decades of intermittent work, he had only a handful of sketches to show for his efforts. Finally, he abandoned his operatic ambitions, recasting some of what he had written as the tone poem The Enchanted Lake.

First performed early in 1909, The Enchanted Lake bears the subtitle “A Legendary Picture.” That description fits the music well. The work conveys no programmatic narrative but, rather, evokes a scene of quiet mystery and shimmering beauty appropriate to its title. Liadov opens and closes the piece with quiet rustling in the muted string instruments. (It is indicative of the music’s hushed atmosphere that the strings play with mutes throughout.) Just a handful of other motifs complete the compositional materials from which Liadov creates the work: a brief chirruping from the flutes; a short phrase in gently lilting rhythms, assigned mainly to the winds; a few dabs of harp, celesta and horn color. These are seductive rather than imposing musical ideas, and Liadov blends them with ambiguous harmonies to create a luminous, impressionistic soundscape. The music is remarkable for its delicacy and restraint. Hardly any other composer of his era would have dared to avoid dramatic utterance in favor of quiet iridescence as completely as Liadov does here.

Kikimora, also composed in 1909 and also using some of Liadov’s abandoned opera music, concerns another legendary witch. Kikimora, it was told, was raised by a sorceress deep in the mountains. There she listened from dawn to dusk as the sorceress’s magic cat told tales of fantastic happenings in far-off lands. In seven years, Kikimora grew to her full stature, but she was always thin as straw, her head as small as a thimble. She haunted the homes of Russian peasants and villagers, tormenting them with whistling and cackling. Every night she would sit and spin, nurturing her spite and malice for humanity.

Liadov’s tone poem is essentially a musical portrait of Kikimora, one that follows somewhat the design of Baba-Yaga. Its initial pages establish a lugubrious atmosphere, with somber harmonies and a melancholy tune presented by an English horn. Soon,

author once called it). This genial character was not Shostakovich’s original intention. He began writing the symphony in the spring of 1945, shortly after the Allied triumph over Germany in World War II, as a grandiose victory celebration. That initial idea suggested a work that was to include solo voices and chorus, and would express a program that Shostakovich described as “the awakening of the masses.” But having made a substantial start on this project, he decided to recast the music on a modest scale.

Shostakovich justified this change by citing the danger of “drawing immodest analogies,” clearly to Beethoven’s Ninth Symphony. (Throughout his life, Shostakovich exhibited a curious combination of pride in his achievement and humility toward other great musicians, particularly those of the past.) The composer had, moreover, recently produced two monumental symphonies — his Seventh, or “Leningrad,” and Eighth — bound in spirit to his nation’s military struggle against Hitler’s armies, and it may be that he simply could not manage yet another heroic work at this time. And so it was a symphony drawn along taut neo-classical lines that Shostakovich unveiled at a concert by the Leningrad Philharmonic on November 3, 1945.

The new composition was warmly received by the audience but drew a mixed reaction from critics. While some appreciated its avoidance of predictable grandiloquence, others attacked it for not adequately expressing the heroic spirit of the Soviet people. Particularly problematic were the elements of gaiety and, at times, ironic humor evident in certain parts of the composition. To those expecting a conventional victory anthem, these qualities seemed an unacceptably frivolous response to a momentous event in Soviet history. But Evgeny Mravinsky, the conductor entrusted with the work’s first performance and a devoted champion of Shostakovich’s orchestral music, pointed out that “not all the symphony is ironic — it contains both tender lyricism and deep sadness.” Shostakovich, as was his habit, remained aloof from the debate and ultimately weathered the critical storm, as he did several other more severe controversies

Page 11: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

6 11

Soviet Union during the decade following the Revolution of 1917. But beginning in the 1930s, with Stalin’s consolidation of power, the nation’s cultural circumstances grew far more constrained.

The new conservatism affected Shostakovich directly. Twice, in 1936 and 1948, he came under official attack for “formalist” (meaning modernist) tendencies. On both occasions the composer responded with public apologies. Thereafter, he maintained an uneasy and ambivalent relationship with the Soviet government. At times he seemed to play the loyal functionary, writing patriotic hymns to socialism and attending Party gatherings. He even joined the Communist Party in 1960. On the other hand, Shostakovich was sometimes out of favor with the regime, and a number of people who knew him contend that he cooperated with his government only out of fear.

Stalin’s government was not the only danger Shostakovich faced during the course of his life. As a resident of Leningrad (as Saint Petersburg had been renamed by the Soviet government), he endured the first part of the long siege of the city by German forces following Hitler’s invasion of Russia, in 1941. Shostakovich helped defend his native city as a firewatch, and in his spare time sketched his Seventh Symphony, a musical portrayal of the Battle for Leningrad. The completed score of the “Leningrad” Symphony was copied onto microfilm and secretly transported to the West, where it attracted enormous attention as an emblem of Soviet resistance to the Nazi invasion.

Shostakovich survived the war and the perils of life under Russia’s communist regime to have an extraordinarily productive career. His large body of work includes songs, piano pieces, theater music, works for various small ensembles, and most notably fifteen symphonies, an equal number of string quartets, and concertos for piano, violin and cello.Shostakovich’s Ninth is, in both its duration and sonic weight, the smallest of the composer’s fifteen symphonies. It is also the most cheerful (“a merry little piece,” its

the tempo accelerates, and the music embarks on a wild ride, with vivid and unusual sonorities conveying a supernatural character. The brilliant orchestration gives some idea why Liadov was so admired by his contemporaries.

In a quite different vein, but still evoking a world far removed from everyday reality, is The Musical Snuff Box, Op. 32. Liadov composed this charming miniature in 1893, initially as a piano piece for his young son. Four years later he arranged the music for an ensemble of flutes, clarinets and glockenspiel. The piece, an ornate waltz in somewhat antique style, is meant to evoke the sound of an eighteenth-century snuff box. Such boxes, which were popular among wealthy Europeans at the time, often were fitted with spring-driven mechanisms that played short tunes — in other words, they were what we now call music boxes. Liadov’s scoring approximates the tinkling sound of this kind of device, and his unusual character indication at the head of the score, “Automaticamente,” emphasizes the artifice the music suggests.

Another piece originally written as a piano solo but subsequently transcribed for orchestra is the Ballade, Op. 21b. Composed in 1889 and orchestrated in 1906, this work bears a subtitle that translates “Of Olden Times.” It begins with a moderately paced introductory passage whose bardic tone seems indeed to be dreaming of a bygone era. Here the original piano conception is evident in the prominent part for that instrument within the orchestra. The main body of the composition is given over to more energetic ideas, the principal one — a broad idea introduced by the orchestral strings — evoking the sound of Russian folk song. Although this portion of the work is less obviously nostalgic than the prologue, it still manages to evoke an idealized past in music that is by turns bucolic, romantically heroic and, for a brief few moments near the close, given to gentle reverie.

Page 12: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

12 5

Lynn Harrell’s presence is felt throughout the musical world. A consummate soloist, chamber musician, recitalist, conductor and teacher, his work throughout the

Americas, Europe and Asia has placed him in the highest echelon of today’s performing artists.

Mr. Harrell is a frequent guest of many leading orchestras including Boston, Chicago, New York, Philadelphia, San Francisco, Ottawa, Pittsburgh, and the National Symphony, and in Europe the orchestras of London, Munich, Berlin, Tonhalle and Israel. He has also toured extensively to Australia and New Zealand as well as the Far East, including Japan, Korea, Malaysia, Taiwan and Hong Kong. In Hong Kong, Mr. Harrell was featured in a three-week “Lynn Harrell Cello Festival” with the Hong Kong Philharmonic. He regularly collaborates with such noted conductors as James Levine, Sir Neville Marriner, Kurt Masur, Zubin Mehta, André Previn, Sir Simon Rattle, Leonard Slatkin, Yuri Temirkanov, Michael Tilson Thomas and David Zinman.

In recent seasons Mr. Harrell has particularly enjoyed collaborating with violinist Anne-Sophie Mutter and pianist, André Previn, both in chamber music concerts as well as performing the Beethoven Triple Concerto as they first did in January 2004 with the New York Philharmonic, Maestro Masur conducting.

An important part of Lynn Harrell’s life is summer music festivals, which include appearances at the Verbier Festival in Switzerland, the Aspen and Grand Tetons festivals, and the Amelia Island Festival.

On April 7, 1994, Lynn Harrell appeared at the Vatican with the Royal Philharmonic in a concert dedicated to the memory of the six million Jews who perished in the Holocaust. The audience for this historic event, which was the Vatican’s first official commemoration of the Holocaust, included Pope John Paul II and the Chief Rabbi of Rome. That year Mr. Harrell also appeared live at the Grammy Awards with

Symphony No. 9 in E-flat Major, Op. 70Dmitri Shostakovich

The career of Dmitri Shostakovich (1906-1975) spanned most of the existence of the former Soviet Union, and both the composer’s life and his work were intimately bound up with the historic events that buffeted his country and its people during much of the twentieth century. Shostakovich was still a boy when revolutions toppled the Czarist monarchy that had ruled Russia for centuries and replaced it with the world’s first communist government. He was, at this time, already a precociously accomplished pianist, and he would go on to develop both his command of the keyboard and his skill as a composer during years of study at the Saint Petersburg Conservatory.

Shostakovich achieved early success as a composer. His First Symphony, written while he was still enrolled at the Conservatory, was performed not only in Russia but, soon, in Berlin and America by such esteemed conductors as Bruno Walter and Leopold Stokowski. This and other triumphs quickly established Shostakovich as the leading composer in the young Soviet Union.

As a Soviet citizen, Shostakovich evidently understood that he had a duty to advance socialist ideals and support the communist regime. This he did in numerous compositions written to patriotic texts. His Second and Third symphonies, respectively titled “To October” and “May Day,” took the form of large-scale patriotic hymns. Other works — choral songs, ballets, and more — gave the impression of Shostakovich as a dutiful socialist musician.

At the same time, Shostakovich was eager to explore the new tonal language being developed by such Western modernists as Berg and Hindemith. Initially, there was no serious conflict between that desire and the notion of what it meant to be a Soviet artist, and the composer’s creativity flourished in the liberal atmosphere that prevailed in the

Page 13: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

4 13

find it a very difficult section to play and bring off. It is not comfortable. However, at this speed the music connects perfectly to the return of the theme from the first movement. One can argue that this discomfort is part of the manic, crazed energy of this final four and one half minutes of work. We cellists should also remember that Rostropovich was the most active performer and commissioner of new music of anyone in history. He gave us great masterpieces, but also the entire musical concert-going public great works that would not have existed without him. I feel deeply proud that I play the same instrument as such a dynamic figure in musical history.

Itzhak Perlman and Pinchas Zukerman, performing an excerpt from their Grammy-nominated recording of the complete Beethoven String Trios (Angel/EMI).

Highlights from an extensive discography of more than 30 recordings include the complete Bach Cello Suites (London/Decca), the world-premiere recording of Victor Herbert’s Cello Concerto No. 1 with the Academy of St. Martin in the Fields led by Marriner (London/Decca), the Walton Concerto with Rattle and the City of Birmingham Symphony Orchestra (EMI), and the Donald Erb Concerto with Slatkin and the Saint Louis Symphony (New World). Together with Itzhak Perlman and Vladimir Ashkenazy, Mr. Harrell was awarded two Grammy Awards – in 1981 for the Tchaikovsky Piano Trio and in 1987 for the complete Beethoven Piano Trios (both Angel/EMI). A recording of the Schubert Trios with Mr. Ashkenazy and Pinchas Zukerman (London/Decca) was released in February 2000. His May 2000 recording with Kennedy, “Duos for Violin & Cello,” received unanimous critical acclaim (EMI). Most recently, Mr. Harrell recorded Tchaikovsky’s Variations for Cello and Orchestra on a Rococo Theme, Shostakovich’s Cello Concerto No. 2, and Prokofiev’s Sinfonia Concertante with the Royal Liverpool Philharmonic, Gerard Schwarz conducting (Classico).

Lynn Harrell’s experience as an educator is wide and varied. From 1985-93 he held the International Chair for Cello Studies at the Royal Academy in London. Concurrently, from 1988-92, he was Artistic Director of the orchestra, chamber music and conductor training program at the L.A. Philharmonic Institute. In 1993, he became head of the Royal Academy in London, a post he held through 1995. He has also given master classes at the Verbier and Aspen festivals and in major metropolitan areas throughout the world. From 2002-2008, Mr. Harrell taught cello at Rice University’s Shepherd School of Music.

Page 14: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

14 3

In June, 2010 along with his wife, violinist Helen Nightengale, he was appointed Artist Ambassador to Save the Children’s HEART campaign. As a direct result of that appointment he and his wife, Helen, founded the HEARTbeats Foundation. A 501(c) charity based in Los Angeles, the HEARTbeats Foundation strives to help children in need harness the power of music to better cope with, and recover from, the extreme challenges of poverty and conflict, in hope of creating a more peaceful, sustainable world for generations to come. Mr. Harrell serves as a board officer and Artist Ambassador, a capacity that allows him to work directly with children in need.

Lynn Harrell was born in New York to musician parents. He began his musical studies in Dallas and proceeded to the Juilliard School and the Curtis Institute of Music. He is the recipient of numerous awards, including the first Avery Fisher Award.

Mr. Harrell plays a 1720 Montagnana. He makes his home in Santa Monica, CA.

We find in this concerto defiance in its musical power. In the first movement Shostakovich uses his initials (DSCH) as a transliteration of the letter notes, D for D natural, S for Es (German for E-flat), C for C, H for B natural (again from the German.) This “signature” was used in the 8th string quartet as well, and it is brandishing his spirit over and over underneath what might seem like jocular music. In the cello concerto these notes and their permutations reveal themselves under close scrutiny over 300 times. I think it’s the most powerful movement since the 5th symphony of Beethoven. The 2nd movement’s harmony has become less stringent through time, and its underlying desperation and cold fear have been replaced by warmth and the luxury of simple sadness. The metronomic indication shows however, that it is meant to move along, which avoids sentimentality, but to be cold and frightening. When I performed the concerto with Kurt Sanderling, a close friend of Shostakovich, he showed to the orchestra at the beginning of this movement a facial expression, wide eyed with hunched shoulders, and biting his quivering fingernails. He didn’t have to say anything else. The atmosphere of frozen apprehension and fear was communicated perfectly.

The third movement is a long extended cadenza much like the first violin concerto. In this movement we hear quotes from the earlier movements, and a tight musical structure held together by timpani–like pizzicato chords.

The last movement on the surface is a pleasant, joyful dance but underneath is irony, disgust, and even a bit of glaring low-class ugliness. The crucial moment in the movement is when the orchestra takes off from the soloist in triple meter instead of duple. This place is of particular interest because the performance tradition has always been to play it markedly slower than Shostakovich’s tempo indication. Once, when I was performing with the Philadelphia orchestra, Mason Jones, the legendary solo hornist in those concerts, told me a personal anecdote. He said Shostakovich was never happy with this section of the last movement; it was too “Viennese” and not fast enough. Surely if one does what Shostakovich asks through the indications in the score, they will

Page 15: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

2 15

I remember as though it were yesterday, when Rostropovich came to Philadelphia in 1960 to give the American premiere of Shostakovich’s first cello concerto with

Eugene Ormandy. It was of course a cyclone of energy, power and communication. In the days following, Slava, as he is affectionately known in our cellistic community, recorded the work with Shostakovich in attendance. This version is still available on CD. Of course, the work is so closely associated with Slava that critics still to this day use this version as a benchmark for all succeeding cellists’ performances and recordings. His influence as a performer and interpreter of the work is becoming less strong, however, as the dynamic personalities of succeeding cellists have taken over and are making changes in the aesthetic approach. This is all natural and mostly desirable. When one imagines how Joseph Joachim first played the Brahms concerto, we would have to recognize that violinists today perform the work with similarities and differences major and minor.

However, there are certain implications in the music that should not be removed from a performance even if they come from a more remote time. Shostakovich’s fear of living in the Stalinist Soviet Union should still be evident in this great work. We do know, for instance, that Dmitri Shostakovich admired and would have loved to write music following in the footsteps of Hindemith, Krenek, Berg and Bartok. He knew that the bureaucrats who were in charge would not tolerate this. So, the artist had no choice but to conform to the prevailing tastes. Shostakovich had a small suitcase under his bed packed with essentials for the distinct possibility that at any moment the KGB police would come and take him away. We know a number of examples where someone would wake up one morning and their neighbors “disappeared” in the middle of the night with no word left to family or friends. All the furniture and belongings were gone. Where they were taken was not known. We know that Siberia and the Gulag were very active during this time, holding prisoners and so called enemies of the State.

Gerard Schwarz has a vast repertoire that includes major commitments to Germanic, Russian and American music. He has been Music Director of Seattle

Symphony since 1985, and also serves as Music Director of the Eastern Music Festival. Previously, he has served as Music Director of New York’s Mostly Mozart Festival, the Royal Liverpool Philharmonic Orchestra, Los Angeles Chamber Orchestra and New York Chamber Symphony, as well as Artistic Advisor to Tokyu Bunkamura with the Tokyo Philharmonic. His considerable discography of over 300 releases showcases his collaborations with some of the world’s greatest orchestras, including the Philadelphia Orchestra, the Czech Philharmonic, the London Symphony, Berlin Radio Symphony, Orchestre National de France, Tokyo Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and Seattle Symphony, among others. Born to Viennese parents, Schwarz has served on the National Council on the Arts. He has received two Emmy Awards, thirteen GRAMMY® nominations, six ASCAP Awards, and numerous Stereo Review and Ovation Awards. In addition, he holds the Ditson Conductor’s Award from Columbia University, was the first American named Conductor of the Year by Musical America, and has received numerous honorary doctorates, including one from his alma mater, The Juilliard School. In 2002, the American Society of Composers, Authors and Publishers honored Schwarz with its Concert Music Award, and, in 2003, the Pacific Northwest branch of the National Academy of Recording Arts & Sciences gave Schwarz its first “IMPACT” lifetime achievement award.

Page 16: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

16 1

SHOSTAKOVICHCello Concerto No. 1

1 Allegro ................................................................6:30

2 Moderato ........................................................10:25

3 Cadenza ............................................................. 5:19

4 Allegro con moto .............................................4:38

Symphony No. 9, Op. 70

5 Allegro ................................................................5:25

6 Moderato .......................................................... 7:49

7 Presto .................................................................2:58

8 Largo ..................................................................2:50

9 Allegretto - Allegro .........................................6:27

LIADOV0 Baba - Yaga, Op. 56 .......................................3:24

! The Musical Snuff Box, Op. 32 ................... 2:12

@ Kikimora, Op. 63 ............................................8:25

# The Enchanted Lake, Op. 62 ....................... 7:22

$ Ballade, Op. 21b ..............................................6:40

Total time: ............................................................. 79:56

Horn solo in Shostakovich Cello Concerto: John Cerminaro

Cello by Christopher Dungey 2008Bow by Paul Simon, Paris ca. 1850Strings by Pirastro: Passione & Olive Rosin by Andrea

[email protected] www.artekrecordings.com

℗ © 2011 ARTEK. All rights reserved.Unauthorized duplication is a violation of applicable laws.Disc Made in Canada. Printed and Assembled in USA.

SHOSTAKOVICHCello Concerto No. 1

Symphony No. 9

LIADOVBaba Yaga

The Musical Snuff BoxKikimora

The Enchanted LakeBallade

LYNN HARRELL, cello

Seattle SymphonyGerard Schwarz

Page 17: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André
Page 18: SHOSTAKOVICH Cello Concerto No. 1 1 Cello Concerto No. 1 2 · PDF fileSHOSTAKOVICH Cello Concerto No. 1 ... Shostakovich’s Cello Concerto No. 2, ... Kurt Masur, Zubin Mehta, André

Sh

oS

ta

ko

vic

h •

Lia

do

vS

ho

St

ak

ov

ich

• Lia

do

vAR

-005

6-2 AR-0056-2

cello by christopher dungey 2008 Bow by Paul Simon, Paris ca. 1850Strings by Pirastro: Passione & olive Rosin by andrea

[email protected] • www.artekrecordings.com

℗ © 2011 aRtEk. all rights reserved.Unauthorized duplication is a violation of applicable laws.Made in the USa

ShoStakovichcello concerto No. 11 allegro ........................................................... 6:302 Moderato ................................................... 10:253 cadenza ......................................................... 5:194 allegro con moto ........................................ 4:38

Symphony No. 9, op. 705 allegro ............................................................5:256 Moderato ......................................................7:497 Presto .............................................................2:588 Largo ............................................................. 2:509 allegretto - allegro .....................................6:27

Liadov0 Baba - Yaga, op. 56 ....................................3:24! the Musical Snuff Box, op. 32 ............... 2:12@ kikimora, op. 63 .........................................8:25# the Enchanted Lake, op. 62 ...................7:22$ Ballade, op. 21b .................................................... 6:40

total time: ......................................................... 79:56

LYnn haRRELL, celloSeattle SymphonyGerard Schwarz

Horn solo in Shostakovich Cello Concerto: John Cerminaro 6 61853 00502 6