Dmitri Kabalevsky; Aram Khachaturian - Cello Concertos (Raphael Wallfisch)

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Composer: Dmitri Kabalevsky; Aram Khachaturian; Alexander Glazunov

1. Kabalevsky - Cello Concerto No. 2 in C minor, Op. 77: I. Molto sostenuto - Allegro molto e energico
2. Kabalevsky - Cello Concerto No. 2 in C minor, Op. 77: II. Presto marcato
3. Kabalevsky - Cello Concerto No. 2 in C minor, Op. 77: III. Andante con moto
4. Glazunov - Chant du Ménestrel, Op. 71
5. Khachaturian - Cello Concerto in E minor: I. Allegro moderato
6. Khachaturian - Cello Concerto in E minor: II. Andante sostenuto
7. Khachaturian - Cello Concerto in E minor: III. Allegro (a battuta)

Raphael Wallfisch, cello
London Philharmonic Orchestra
Bryden Thomson, conductor

Date: 1987
Label: Chandos
https://www.chandos.net/products/catalogue/CHAN%208579

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Review

The real surprise here is the Kabalevsky. In the past I've found getting to know Kabalevsky more of a duty than a pleasure, but the Second Cello Concerto is a strong and obviously highly personal work, despite a lingering flavour of Shostakovich and occasional leanings towards cinematic grandiloquence. Raphael Wallfisch plays superbly, achieving a near-miraculous pizzicato espressivo in the opening and closing pages of the first movement. It is this opening Molto sostenuto that impresses most deeply: sparsely scored and economical of gesture, it may be a little softer-edged than many comparable Shostakovich slow movements, but there's no denying the intensity of the experience communicated—still more impressive for the restrained manner of address. The finale's initial song-theme may teeter precariously on the edge of sentimentality, but the working-out and resigned conclusion are well handled. All the same, I wonder how it would have sounded given a less convincing—or rather less convinced performance: Wallfisch manages searing eloquence where required without lapsing into histrionics, and Bryden Thomson has plainly persuaded the LPO of the value of the music. The spaciousness of the recording doesn't bother me at all—though was the first movement cadenza recorded after the orchestra had gone? The building does sound disturbingly empty at this point.

Much less to my liking is the Khachaturian—full of winning (and some not so winning) tunes and imaginative touches, but as so often with Khachaturian, one feels that structure has been left almost to chance. Thomson and Wallfisch do their best, but on the whole the material refuses to be motivated. The old charge that Khachaturian forced his inspirations into half-understood Western models does have some credibility here. Glazunov's Chant du menestrel is altogether simpler, and vastly more successful given its more modest terms. Wallfisch gives it his all—eloquence, range of colour, fine control of the long phrase. It makes very enjoyable listening.

-- Stephen Johnson, Gramophone

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Dmitri Kabalevsky (30 December [O.S. 17 December] 1904 – 14 February 1987) was a Russian composer. He helped to set up the Union of Soviet Composers in Moscow and remained one of its leading figures. He was a prolific composer of piano music and chamber music; many of his piano works have been performed by Vladimir Horowitz. Kabalevsky wrote for all musical genres and was consistently faithful to the ideals of socialist realism. In Russia, Kabalevsky is most noted for his vocal songs, cantatas, and operas while overseas he is known for his orchestral music.
http://en.wikipedia.org/wiki/Dmitry_Kabalevsky

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Aram Khachaturian (6 June 1903 – 1 May 1978) was a Soviet Armenian composer and conductor. He is considered one of the leading Soviet composers and the most renowned Armenian composer of the 20th century. His music combined Armenian, Caucasian, Eastern Europe and Middle East folk music with established musical traditions of Russia.
http://en.wikipedia.org/wiki/Aram_Khachaturian

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Raphael Wallfisch (born 15 June 1953, London) is one of the leading English cellists of his generation. His repertory is vast, taking in 19th century staples by Tchaikovsky, Brahms, and Dvorák, as well as 20th century standards by Prokofiev, Shostakovich, Respighi, and Barber. Yet he has also focused much attention on works by British composers, too. Wallfisch has recorded extensively for many labels, including Chandos, Nimbus, and Naxos.

http://www.allmusic.com/artist/raphael-wallfisch-mn0002030011/biography

http://www.raphaelwallfisch.com/?page_id=35

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