![]() ![]() The modified version that was just played by bass instruments is repeated by the solo cello, accompanied by oboes playing fragments of the new DSCH theme. The cello begins playing a new theme that uses exactly the same notes as the DSCH motif. The final movement begins with an ascent to a high D.The piu mosso section features fast ascending and descending scales. It is also frequented by the first DSCH motive. The cadenza stands as a movement in itself, and features double stops and pizzicato chords.The second movement is the only movement with no reference to the DSCH motive. The solo cello plays its first melody in artificial harmonics with answers by the celesta, which leads into the cadenza. Its structure is similar to the baroque ritornello form, where the tutti ensemble plays the main theme which recurs and the soloist plays long passages of different material between occurrences of the theme. ![]() The second movement is initially elegiac in tone.The first movement begins with its four-note main theme derived from the composer’s DSCH motif, although the intervals, rhythm and shape of the motto are continually distorted and re-shaped throughout the movement.The DSCH motive recurs throughout the concerto (except in the second movement), giving this concerto a cyclic structure.Shostakovich said that “an impulse” for the piece was provided by his admiration for that earlier work. It shares certain features with the Sinfonia Concertante of Sergei Prokofiev (such as the prominent role of isolated timpani strokes).Shostakovich wrote the work for his friend Mstislav Rostropovich, who also received the dedication, and committed it to memory in four days before giving the premiere.Walton regarded the Cello Concerto more favourably than his Violin or Viola concertos.ĭmitri Shostakovich: Cello Concerto No.1 in E-flat for cello and orchestra (1959).He did so, but Piatigorsky’s illness (and death) prevented him from performing that version, and it remains unheard. In 1975 Piatigorsky himself asked Walton to revise the ending. Piatigorsky told Walton that the violinist Jascha Heifetz had some reservations about the ending, so the composer provided an alternative ending, but ultimately his first version was the version that was premiered.The rhapsodic fourth variation, for cello alone, ends in trills that introduce the final section, with reminiscences of the first movement and the return of the theme. brioso, to be followed by a fierce Allegro molto. The second is for cello alone, marked Risoluto tempo giusto. After the slow opening melody the cello leads into a first variation coloured by the use of harp, vibraphone and celesta. The concerto ends with a theme and four improvisations, two each for orchestra alone and solo cello, and ends Adagio, quietly. ![]()
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