Shostakovich Cello Concerto No 1 Mstislav Rostropovich vc Philadelphia Orchestra Eugene Ormandy

Shostakovich - Cello Concerto No. 1 [performed by Emmanuelle Bertrand] (2013) {Harmonia Mundi}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 272 Mb | MP3 @320 -> 151 Mb
Full Artwork @ 300 dpi (png) -> 122 Mb | 5% repair rar
© 2013 BBC / Harmonia Mundi | HMC 902142
Classical / Cello / Piano

This is one hell of a performance of Shostakovich’s First Cello Concerto. Emmanuelle Bertrand and conductor Pascal Raphé team up to produce one of the most intense and neurotic versions yet of this intense and neurotic piece. In the outer movements, they adopt fleet tempos that emphasize the music’s twitchy edge, and the engineers daringly balance Bertrand a touch less forward then usual, comfortably within the ensemble. This highlights every mocking grunt and snort of the wind section – listen to the contrabassoon in the first movement’s second subject. It’s unforgettably vivid and to the point.

Dmitri Shostakovich: Symphony No. 15 in A major op. 141; Piano Sonata No. 2 op. 64 -
The Philadelphia Orchestra, Eugene Ormandy, conductor; Emil Gilels, piano
Classical | 1 CD | EAC Rip | 233 Mb | FLAC+LOG+Cue | Scans | RS links and 4 share links
Publisher: BMG Classics - RCA

Eugene Ormandy and the Philadelphia Orchestra gave the American premiere of Shostakovich's valedictory symphony in 1972, followed by its first recording outside the Soviet Union. Collectors may remember its shrill, emasculated sonics, due in part to those notorious matzoh-like dynaflex LP pressings that made RCA infamous in the 1970s. Appearing now for the first time on CD in RCA's High Performance series, the Ormandy Shostakovich 15th blooms with vivacity and life, filling the room with the fabled Philadelphia sound… A major release. [2/10/2000]–Jed Distler, classicstoday.com

If Prokofiev's Symphony-Concerto for cello and orchestra and Shostakovich's Second Concerto for cello and orchestra had heretofore seemed to be late works shot through with nostalgia and bitterness, that's certainly entirely understandable. Rostropovich, the works' dedicatee who gave both their world premieres, played them that way in his recorded performances and most subsequent cellists have naturally followed his lead.