SHOSTAKOVICH Cello Cancertas Nos, 1 and 2 Dmitry Shostakovich (1906 - 1975) Cello Concerto No. 1in E flat major, Op. 107 Cello Concerto No. 2 in G major Op. 126 Dmitry Shostakovich was born in St Petersburg in 1906, the son of an engineer. He had his first piano lessons from his mother when he was nine and showed such musical precocity that he was able at the age of thirteen to enter the Petrograd Conservatory, where he had piano lessons from Leonid Nikolayev and studied composition with the son-in-law of Rimsky- Korsakov, Maximilian Steinberg. He continued his studies through the difficult years of the civil war, positively encouraged by Glazunov, the director of the Conservatory, and helping to support his family, particularly after the death of his father in 1922, by working as a cinema pianist, in spite of his own indifferent health, weakened by the privations of the time. He completed his course as a pianist in 1923 and graduated in composition in 1925. His graduationwork, the First Synzplmny, was performedin Leningrad in May 1926 and won considerable success, followed by performances in the years immediately following in Berlin and in Philadelphia. As a pianist he was proficient enough to win an honourable mention at the International Chopin Competition in Warsaw. Shostakovich in his early career was closely involved with the theatre, and in particular with the Leningrad Working Youth Theatre, in musical collaboration in Meyerhold's production of Mayakovsky's The Flen and in film music, notably Nezu Babylon. His opera The Nose, based on Gogol, was completed in 1928 and given its first concert performance in Leningrad in June 1929, when it provoked considerable hostility from the vociferous and increasingly powerful proponents of the cult of the Proletarian in music and the arts. The controversy aroused was a foretaste of difficulties to come. His ballet The Golden Age was staged without success in Leningrad in October 1930. Orchestral compositions of these years included a second and third , each a tactful answer to politically motivated criticism. The first of these, To October, was written in response to a commission from the state authorities and was intended to mark the tenth anniversary of the Revolution. The Third Symphony, completed in 1929, marked another celebration of the regime and was subtitled The First of May. In 1934 Shostakovich won acclaim for his opera Lady Macbeth of the Mtsensk District, based on a novella by the nineteenth century Russian writer Nikolay Leskov, and performed in Leningrad and shortly afterwards, under the title Knterina Ismailova, in Moscow. Leskov's story deals with a bourgeois crime, the murder of her merchant husband by the heroine of the title, and the opera seemed at first thoroughly acceptable in political as well as musical terms. Its condemnation in Pravda in January 1936, apparently at the direct instigation of Stalin, was asignificant and dangerous reverse, leading to the withdrawal from rehearsal that year of his Fourth Symphony and the composition the following year of a Fifh Synlphony, described, in terms to which Shostakovich had no overt objection, as a Soviet artist's creative reply to justified criticism. Performed in Leningrad in November 1937, the symphony was warmly welcomed, allowing his reinstatement as one of the leading Russian of the time. In 1941 Shostakovich received the Stalin prize for his Piano Quintet. In the same year Russia became involved in war, with Hitler's invasion of the country and the siege of Leningrad, commemoratedby Shostakovichin his Seventh Symphony, a work he had begun under siege conditions and completed after his evacuation to Kuibyshev. Its broadcast performance in the devastated city to which it is dedicated and subsequent performances in allied countries had, as the authorities had intended, a strong effect on morale in Leningrad and in Russia, and aroused emotions of patriotic sympathy abroad. Stricter cultural control enforced in the years following the end of the war led, in 1948, to a further explicit attack on Shostakovich, coupled now with Prokofiev, Myaskovsky and Khachaturian, and branded as formalists, exhibiting anti-democratic tendencies. The official condemnationbrought, of course, social and practical difficulties. The response of Shostakovich was to hold back certain of his compositions from public performance. His first Violin Concerto, written for David Oistrakh, was not performed until after the death of Stalin in 1953, when he returned to the symphony with his Tenth, which met a mixed reception when it was first performed in Leningrad in December 1953. His next two avoided perilous excursions into liberalisation, the first of them celebrating The Year 1905 and the fortieth anniversary of the of 1917 in 1957, and the second The Year 1917, completed in 1961. In 1962 there came the first performance of the Thirteenth Symphony, with its settings of controversial poems by Yevtushenko, and a revival of the revised version of Lndy Macbeth of the Mtsensk District, now under the title Knterina Isnmiloua. The opera now proved once more acceptable. The last dozen years of the life of Shostakovich, during which he suffered a continuing deterioration of health, brought intense activity as a , with a remarkable series of works, many of them striving for still further simplicity and lucidity of style. The remarkable Fourteenth Synzphony of 1969, settings of poems by Apollinaire, Lorca, Rilke and Kiichelbecker, dedicated to his friend Benjamin Britten, was followed in 1971by the last of the fifteen symphonies, a work of some ambiguity. The last of his fifteen string quartets was completed and performed in 1974 and his final composition, the Viola Sonata, in July 1975. He died on 9th August. The career of Shostakovich mustbe seen against the political and cultural background of his time and country. Born in the year after Bloody Sunday, when peaceful demonstrators in St Petersburg had been fired on by troops, Shostakovich had his musical ed~~cationunder the new Soviet regime. His 8.550813 4 own political sympathies have been questioned and there has been controversy particularly over the publication Testinlony, The Menzoirs of Dnzitri Shostakovich, as related to and edited by Solomon Volkov, once accused of fabrication in his portrayal of the composer as a covert enemy of Bolshevism. The testimony of others and more recent revelations suggest that the general tenor of Volkov's Testin~onyis true enough. Shostakovich belonged to a family of liberal tradition, whose sympathies would have lain with the demonstrators of 1905. Under , however, whatever initial enthusiasm he may have felt for the new order would have evaporated with the attacks on artistic integrity and the menacing attempts to direct all creative expression to the aims of . While writers and painters may express meaning more obviously, composers have a more ambiguous art, so that the meaning of music, if it has any meaning beyond itself, may generally be hidden. Shostakovich learned how to wear the necessary public mask that enabled him to survive the strictures of 1936 and 1948 without real sacrifice of artistic integrity. Shostakovich wrote his Cello Concerto No. 1 irz Eflnt nmjor, Opils 107, in 1959 for the cellist Mstislav Rostropovich, with whom he had toured in recitals that included his Cello Sonata. Rostropovich had been warned not to ask directly for a concerto, and was, therefore, all the more pleased when Shostakovich wrote a concerto for him. The score was handed to himinLeningrad on 2nd August 1959 and four days later he hadmemorised it, playing it through to the composer in his dacha at Komarovo. It was given its first performance in Leningrad by Rostropovich, with the orchestra under the direction of Yevgeny Mravinsky. The concerto owes much to Prokofiev's Syn~pllony-Coizcertnnte,a work that Shostakovich greatly admired. The opening four-note motif, which is of great importance, is announced by the cello, accompanied by the woodwind, and this material is developed. Other thematic material is introduced, marked by an insistent falling third. A clarinet assumes prominence, followed by the restatement of the opening theme by the French horn, which repeats the theme, allowing the soloist a section of rapid passage-work, later shared by the upper woodwind. The French horn restates the theme once more, followed by the soloist, with a passage for solo cello and French horn based on the same material. The impetus that has compelled the movement forward is briefly relaxed, as the theme winds downwards, before the brusque conclusion. The second movement opens with a heartfelt A minor string melody, followed by the evocative notes of the French horn, before the cello enters, with its elegaic melody, accompanied by lower strings, the violas providing a moving . The melancholy theme is taken up by the clarinet, accompanied by the solo cello, which then resumes prominence. There is a change of key to F sharp minor, as the strings repeat their opening material, to which the solo cello adds a melody of great intensity, leading to a passage in which the soloist is accompanied by the gentle syncopation of flute, clarinets and bassoons. The material is developed, before the original string melody returns, followed, as at the beginning, by the solo French horn. Now the soloist plays again the melancholy tune of the first solo entry, in harmonics, with a moving first violin accompaniment and the colouring of the celesta. A sustained note from the cello leads directly to the cndenm, a movement in itself, based on earlier thematic material, with the motif that opened the concerto gradually assuming prominence. The soloist leads the way into the final Allegro con nroto, its busy angular theme heard first from oboe and clarinet, then joined by flute and piccolo. There is a quotation from Stalin's favourite song, Suliko, used before by Shostakovich in his private satire on the idiocies of Soviet officialdom, Rnyok, before the timpani calls a halt, allowing the entry of the solo cello. New thematic material, in a changed rhythm, is introduced by the strings, followed by the cello, with echoes of the first movement, the first motif assuming more and more importance, as the concerto is impelled onwards to its conclusion, once again reinforced by the timpani. Shostakovich wrote his Cello Concerto No. 2, Opus 126, in late April and early May 1966, while staying in the Crimea. The work was dedicated again to Rostropovich, who gave the first performance at the Great Hall of Moscow Conservatory, with the orchestra under the direction of Yevgeny Svetlanov, on 25th September of the same year, at a concert to celebrate the composer's sixtieth birthday. Mravinsky had refused to conduct the work in Leningrad, since awkwardness had sprung up between him and the composer, after his refusal to conduct the controversialTllirteenthSynlplzony, with its poems by Yevtushenko. The soloist opens the first movement with a sombre melody, to which lower strings provide an accompaniment. From this the musical line develops, allowing the cello a mood of melancholy meditation, before the introduction of new material in contrast, livelier in character, assisted by the xylophone. A dramatic climax is reached, with the bass drum interrupting the solo cello in its brief cadanza. The opening theme returns, leading the way to a conclusion in hushed sadness. The soloist introduces the following Allegretto, with a rhythmic theme of characteristic contour, based on an Odessa street-song, Bubliki, kupitye, bbubliki. The last movement starts with answering fanfares, echoed by the cello in an unaccompanied passage. This first episode ends with a relatively conventional cadence, introducing a passage of lyricism, gently lilting, without losing anything of its underlying sombre mood. Fanfares introduce an ominous march, quickly abandoned, and the movement continues its capricious course, with the same cadence used to restore, however briefly, a more lyrical mood. The orchestra embarks on a wild dance, joined by the cello with the fanfare motif. The tender lyrical section returns and there are reminiscences of the first movement. The concerto ends with a final sustained note from the soloist, accompanied by percussion. 7 8.550813 Maria Kliegel Maria Kliegel achieved significant success in 1981, when she was awarded the Grand Prix in the Rostropovich Competition. Born in Dillenburg, Germany, she began learning the cello at the age of ten and first came to public attention five years later, when, as a student at theHoch Conservatory in Frankfurt, she twice won first prize in the Jugend Musiziert competition. She later studied in America with Jkos Starker, serving as his assistant, and subsequently appeared in a phenomenal series of concerts in America, Switzerland and France, with Rostropovich as conductor. She has since then enjoyed an international career of growing distinction as a soloist and recitalist, offering an amazingly wide repertoire, ranging from Bach and Vieuxtemps to the contemporary.

The Polish National Radio Symphony Orchestra of Katowice (PNRSO) The Polish National Radio Symphony Orchestra of Katowice (PNRSO) was founded in 1935 in Warsaw through the initiative of well-known Polish conductor and composer Grzegorz Fitelberg. Under his direction the ensemble worked till the outbreak of the World War 11. Soon after the war, in March 1945, the orchestra was resurrected in Katowice by the eminent Polish conductor Witold Rowicki. In 1947 Grzegorz Fitelberg returned to Poland and became artistic director of the PNRSO. He was followed by a series of distinguished Polish conductors -Jan Krenz, Bohdan Wodiezko, Kazimierz Kord, Tadeusz Strugala, JerzyMaksymiuk, Stanislaw Wislocki and, since 1983, Antoni Wit. The orchestra has appeared with conductors and soloists of the greatest distinction and has recorded for Polskie Nagrania and many international record labels. For Naxos, the PNRSO has recorded the complete symphonies of Tchaikovsky and Mahler and orchestral music by Lutoslawski. Antoni Wit Antoni Wit was born in Cracow in 1944 and studied there, before becoming assistant to Witold Rowicki with the National Philharmonic Orchestra in Warsaw in 1967. He studied with Nadia Boulanger in and with Penderecki and in 1971 was a prize-winner in the Herbert von Karajan Competition. Study at Tanglewood with Skrowaczewski and Seiji Ozawa was followed by appointment as Principal Conductor first of the Pomeranian Philharmonic and then of the Cracow Radio Symphony Orchestra. In 1983 he took up the position of Artistic Director and Principal Conductor of the Polish National Radio Symphony Orchestra in Katowice. Antoni Wit has undertaken many engagements abroad with major orchestras, ranging from the Berlin Philharmonic and the BBC Welsh and Scottish Symphony Orchestras to the Kusatsu Festival Orchestra in Japan. Dimitri Schostakowitsch (1906-1975) Cellokonzert Nr. 1Es-Dur op. 107 Cellokonzert Nr. 2 G-Dur op. 126 Dimitri Schostakowitsch, 1906 in Sankt Petersburg geboren, wuchs in einer Epoche geistiger Experimentierfreude auf. Er erlebte die Entfaltung der expressionistischen und kubistischen Malerei, des biomechanischen Theaters und der experimentellen Literatur und lemte das Musikvokabular der westlichen Moderne kennen. Schon.das erste Werk, die Sinfolzie Nu. 1, mit dem der Achtzehnjahrige an die Offentlichkeit trat, erregte groBes Aufsehen. Rasch folgten weitere Sinfonien sowie die beiden Opem Die Nnse (nach Gogols kurzweiligem Text) und Lady Mncbetk von Mzensk - Werke, die unter Aufbietung aller zeitgenossischer Kunstmittel vertont wurden und unter anderem auch deshalb augerstes MiBfallen in hochsten Parteikreisen erregten. Das betraf in besonderem MaBe die Oper Lady Mncbeth von Mzensk, jene schauerliche Ballade um eine mehrfache Morderin. 1936 wurde sie von offizieller Seite gerugt und vom Sprachrohr der jungen Sowjetunion, der "Prawda", offentlich diffamiert. Von "linker Monstrositat, "formalistischer Perversion der Kunst" bis zu "pathologischem Naturalismus und Erotizismus" reichten die Vorwiirfe, die Schostakowitschuber sich ergehen lassen mugte. Er nahm sich diese MaBregelungen sehr zu Herzen. "Urn jene Zeit hatte bereits jedermann Grund, sich vor seinen eigenen Gedanken, daruber hinaus auch vor jenen zu fiirchten, die er fur seine Freunde hielt. Jeder hatte Grund, sich vor allen anderen in acht zu nehmen", erinnert sich der nach Moskau emigrierte ungarische Kornmunist Erwin Sink6. Hinter der frohlichen Fassade propagierter Lebensfreude und -lust spielte sich eine grauenvolle, blutgetrankte Wirklichkeit ab. Schauprozesse, mit denen sich Stalin inigliebiger Regimekritiker und ehemaliger Mitkampfer entledigte, waren an der Tagesordnung. Hochangesehene Kiinstler verschwanden lautlos von einem Tag auf den anderen. Um die Gunst der Parteioberen zuriickzugewinnen, schob Schostakowitsch Werke beiseite, die ihm als zu "pessimistisch" erschienen, und komponierte solche, die sich auf die grogenLeistungender Sowjehmion "besannen". 1948 gelobte er abermals, in seinen Werken die Tatkraft des Volkes herauszustellen. Mehrmals wurde er dafiir mit dem Stalin- bzw. Lenin-Preis ausgezeichnet. Die "Obrigkeit" emannte ihn zum Sekretar des Sowjetischen Komponistenverbandes, 1962 avancierte er zum Deputierten des Obersten Sowjets. Allesamt hochst einflui3reiche Positionen, die ihn indes nicht vor niedertrachtigen Pressekampagnen und scharfen Riigen seitens der sowjetischen Behorden verschonten. Zeit seines Lebens sah sich Schostakowitsch gezwungen, "offiziell" vollig anders zu agieren als "privat" und ein Doppelleben zu fiihren, das nicht ohne Auswirkungen auf sein seelisches Gleichgewicht bleiben konnte. Als er am 11. August 1975 starb, war er ein verbitterter, gebrochener Mann. Sein Werk kann man in mehrere Schaffensphasen einteilen: Die erste Periode umfagt die Tahre 1924 bis 1936; in dieser Zeit zeigte er sich einer Musiksprache geneigt, die ihre Bindung an die west- und Gtteleuroplische Moderne, besonderes Alban Berg, Paul Hindemith und Igor Strawinsky, verrat. Die zweite Spanne reickt von 1937 bis 1966; 6ier suchte der Komponist -zumindest bis Stalins Tod im Jahre 1953-den Forderungen des "Sozialistischen Realismus" weitgehend zu folgen. Es waren dies Zeiten, in denen der selbst formulierte Grundsatz, ohne einen bestimmten Ideengehalt kome Musik nicht wertvoll, lebendig und schon sein, nicht selten zur Farce geriet; Schostakowitschs Aunerung, "Werke rnit einem konkreten Thema, das sich durch Worte ausdriicken 1aRt und von lebendigen Bildern unserer Zeit inspiriert wird, sind moglich und notwendig", ist geradezu eine Bejahung des Systems. Schostakowitsch glaubte zwar an den Sozialismus als eine uberlegene Lebensform, was allerdings nicht bedeutete, dai3 er mit allem, was in seinem Land geschah, einverstanden gewesen ware. Nach Stalins Tod 1953 schienen sich die Ketten zu lockem. Angeregt von Sergej Prokofjews Concertino fiir Violoncello und Orchester entstand im Herbst 1959 in Zusamrnenarbeit mit dem Cellisten Mstislaw Rostropowitsch Schostakowitschserstes Cellokonzert Es-Dur op. 107. Der Komponist schopft hier aus seinem Arsenal der friihen, kiihnen Jahre: atonale Gefiige und harmonische Verschiebungen kommen emeut zum Einsatz, besonders im umf3nglichen zweiten Satz Moderato. Die thzerischen Themen des Satzes fiihrt der Schostakowitsch-Experte Joachim Braun auf des Komponisten ausgepragte Neigung zur jiidischen Volksmusik zuruck. Schostakowitschs zweites Cellokonzert G-Dur op. 126 wurde am 27. April 1966 im Sanatorium in Jalta vollendet. In diesem Werk iibt sich der Komponist in der Reduktion auf das Wesentliche. Wie beim Schachspiel, dem er leidenschaftlich fronte, erprobt er immer andere, aberwitzige Kombinationen. Spielfiguren sind ihm ostinate Rhythmen, halbtonartig fortschreitende Melodien, wie man sie aus der jiidischen Volksmusik kemt, und Passagen, die im Augenblick groBter tonaler Vertrautheit kaprizios aus ihren Strukturen ausbrechen. "So ist der Stil dieses Konzerts aufkommenden Illusionen gerade entgegengesetzt", stellte der Schostakowitsch-Experte Detlef Gojowy fest und fiigte hinzu: "Monumentales wird zur Farce". Mstislaw Rostropowitsch iibernahm dieurauffiihrung am 25. September 1966 in Moskau zum sechzigstem Geburtstag des Komponisten. Einen Tag danach erlitt Schostakowitsch einen Herzinfarkt. Ein weiterer Herzinfarkt setzte am 9. August 1975 seinem Leben ein Ende. O 1996 Teresa Pieschacdn Raphael Dimitri Chostakovitch(l906-1975) : Concertos pour violoncelle et orchestre no 1, op. 107 et no 2, op. 126 Dirnitri Chostakovitch naquit ?I Saint P6tersbourg, le 26 septembre 1906. A neuf ans, il debuta l'etude du piano avec sa mbre et livra dbl'annee suivante ses premiers essais de composition oh l'on trouve un opera d'apres Pouchkine et plusieurs pieces pour piano. En 1919, le jeune musicien entra au conservatoire de sa ville natale. Il y etudia le piano avec Nikoldiev et la composition avec Steinberg. Ses premieres oeuvres sigdicatives virent bient6t le jour : les Danses fantastiques pour piano(1922), la lere Symphonie (1925). Cr&e le 12 mai 1926, cette derniere connut un succes eclatant. Epris de justice, Chostakovitch avait sincbrement cru, en ses debuts, B la revolution russe. La Symphonie n02 op.14 ''6 Octobre", composee pour le dixieme anniversaire de l'evenement l'atteste. Les annees qui suivirent la chute du regime tsariste furent synonymes d'audace et d'innovation dans le domaine artistique, cornrne le prouvent par exemple les travaux de compositeurs tels que Roslavetz, Mossolov ou Laurie. Tout en militant pour la musique sovietique contemporaine, Chostakovitch se montrait trbs ouvert am createurs &angers. Avec l'appui de YAssociation de musique contemporaine, fondee en 1926, le musicien fit entendre Bartbk, Krenek, Hindemith, Schoenberg, Honegger, Milhaud ou Stravinsky en U.R.S.S. L'installation de la dictature stalinienne mit vite un terme B cet "Lge d'or". En 1932, l'Union des Compositeurs et Musicologues sovietiques naquit ... En 1936, apres une representation de son opera Lady Macbeth de Msensk, B laquelle Staline avait assist4 Chostakovitch fut violemrnent prit & parti par la Pravda qui l'accusa d'@trel'auteur "d'une maree de sons chaotiques et discordants" et ne vit dans son oeuvre que "formalisme poussif, crisp6 et petit-bourgeois". L'hre des purges staliniennes avait commence. L'angoisse gagnait un artiste qui, chaque jour, imaginait le pire ... Fin 1942, le musicien terrnina sa 7he Synzphonie "Leningrad", oeuvre marquee par les souffrances que sa ville natale endurait B cause du blocus impose par l'armee allemande. "Ecrite avec le sang du coeur", lasynzphonie op.60 fit 6normement pour la popularit6 de Chostakovitch hors d'U.R.S.S., aprhs sa creation aux Etats-Unis en juillet 1942, sous la baguette de Toscanini. Peu apres la fin ~LIconflit, en 1948, le compositeur fut une nouvelle fois la cible des attaques du pouvoir. Comme chez Prokofiev ou Khatchaturian, Jdanov d6noncait la "tendance formaliste" de sa musique. Secretaire de l'Union des Compositeurs de 1'U.R.S.S. de 1957 ii 1968, membre du P.C.U.S. en 1961, depute au Soviet supreme en 1962, Chostakovitch a pu donner l'image d'un artiste "officiel". Confront6 k l'absurdite du systhme politique, sournis ii d'6normes pressions, il fut en realit6 contraint &adopter un double visage. Peu aprhs avoir acheve la Sonate pour alto et piano op.147, Dirnitri Chostakovitch deceda ?I Moscou, le 9 aofit 1975. La production concertante de Dimitri Chostakovitch comprenait dejk les deux concertos pour piano et le Concerto pour violon no 1, lorsqu'en 1959 le musicien russe entreprit la composition du Concerto poiu violoncelle en mi be'nzol nuajeur no 1, op. 107 qu'il d6dia B un violoncelliste promis k un brillant avenir: Mstislav Rostropovitch. Come celles de David Oistrakh dans le cas des concertos pour violon, la persomalit6 et la virh1osit6 du je~me artiste compthrent beaucoup dans sa decision d'ecrire pour le violoncelle. Des le4 octobre 1959, Mstislav Rostropovitch crCa l'Opus 107&Leningrad. En quatre mouvements, l'ouvrage debute par k Allegretto qui fait d'abord entendre au violoncelle un premier theme plein d'allant, un rien bonhomme. On remarquera par ailleurs dans cet $isode souvent brillant le r81e important que Chostakovitch reserve au cor. Partie la plus longue de l'ouvrage le Moderato deploie un lyrisme tres slave et exploite toute la richesse des timbres de l'instrument soliste, en particulier dans la coda oh le compositeur fait appel au celesta. La transition avec l'episode conclusif est assuree par une vaste Cadence qui s'anime peu & peu et s'enchahe avec un vigoureux et eclatant Allegro con moto. Presque exactement contemporain du Quatuor no 11 en fa mineur, le Concerto pour violoncelle no 2, op. 126 fut ecrit en un temps tres bref en avril 1966. Partition d'une invention et d'une densite surprenantes l'Opus 126 figure parmi les meilleures realisations concertantes de son auteur. A l'instar du Concerto no 1, il est dedi6 & Mstislav Rostropovitch qui en donna le premihe audition & Moscou le 25 septembre 1966. Le Concerto no 2 presente la particularite de s'ouvrir par un mouvement lent not6 Largo. Le discours accumule d'abord ici une tension qui se libere dans le second volet du morceau oh le compositeur fait un usage trks abondant de la percussion, du xylophone surtout. Les mouvements rapides sont tous dennotes Allegretto. Bref, le premier Cblouit par son Clan et sa virtuosite tandis que le finale se singularise par ses dimensions imposantes autant que par la complexit6 psychologique d'une Ccriture oh le melange de lyrisme et de violence reflete & merveille l'univers complexe et tourmente de Dimitri Chostakovitch. O 1996 Fr6d6ric Castello mrir Dmitry DIGITAL AUDIO SHOSTAKQVICH (1.906 - 1973) Cella Concertos ME* ~~~, a Rmbiw&lia#~ --

Cello CowNo. 1 CWC#BW@I$Q. M0.2 in hIW~Q~, Qp, 107 .taG~r,[email protected];25 ZatUI m urn twrn- mw a WW ------I* MADE IN GERMANY I a Recorded at the Cdncett Hall of the Polish Radio, Katowice, from 27th February to 1st March, 1995. Producer: Teije van Geest Music Notes: Keith Anderson Deutscher Text l I Cover Painting by Jieyin Wang I