It’s hard to overstate the depth of the connection between Dmitri Shostakovich and the legendary cellist Mstistlav Rostropovich. Shostakovich and Rostropovich were extremely close friends, and Shostakovich wrote and dedicated several works to him, including the piece we’re going to talk about today, the first Cello Concerto. Rostropovich had been desperate to get Shostakovich to write a concerto for him, but Shostakovich’s wife had one simple piece of advice: if you want Shostakovich to write something for you, don’t talk to him about it or even mention it. So Rostropovich waited and waited, until July of 1959, when he was asked by Shostakovich to come to Leningrad to try out a new Cello Concerto. Shostakovich played through the piece for Rostropovich, turned to him, and asked him if he liked it. Rostropovich apparently told Shostakovich that he “had been shaken to the core.” Shostakovich, in his famously modest way, then shakily asked Rostropovich if he could dedicate the concerto to him. Rostropovich immediately agreed, and then rushed off to learn the concerto as quickly as possible. He learned the entire concerto in 3 days, then returned to Shostakovich and played it for him by heart. The concerto is practically stamped with Rostropovich’s name, which is why I’ll be using a recording of a live performance of Rostropovich during the show today, though I must say I also recommend a pretty great modern recording by a certain cellist who is also my sister, Alisa Weilerstein. This concerto has always been one of my favorites; it is compact, powerful, punchy, beautiful, intense, concentrated, and tremendously exciting. For me, it is one of Shostakovich’s most Beethovenian works, in its lean power and its obsession with a single motive. Today on this fundraiser sponsored show, we’ll talk through this fantastic concerto, and explore just what makes its momentum so inevitable and so thrilling from start to finish. Join us!
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