SHOSTAKOVICH, BRITTEN & PROKOFIEV From his teenage years until his late twenties, of the subject matter and Shostakovich’s Shostakovich’s music was a riot of invention advanced musical language. Two days later, SONATAS and non-stop productivity, employing current the now notorious Pravda editorial appeared avant-garde styles imported from the West as describing Lady Macbeth under the headline well as home-grown Russian and Soviet elements, ‘’ as a ‘discordant, in D minor, Op.40 (1906 – 1975) all shot through with his own growing voice as a confused stream of sounds … the music cracks, 1 i. Allegro non troppo [12.16] composer. Three symphonies, film scores (silent, grunts and growls’. Soon after, his ballet, 2 ii. Allegro [2.56] talkie and animated), operas, ballets, incidental The Limpid Stream, which was in the repertory 3 iii. Largo [7.02] music, masterpieces such as the Piano of the Bolshoi Ballet at the time, fared no better No.1, Piano Trio No.1 and the Jazz Suite No.1 and under the banner, ‘Balletic Falsehood’. Although 4 iv. Allegro [4.15] the Cello Sonata were cementing his reputation now seen as preposterous and philistine, at Cello Sonata in C major, Op.65 (1913 – 1976) as the pre-eminent composer of the new the time these were unprecedented articles. 5 i. Dialogo [6.18] generation. He was certainly hot news and Pravda, the official organ of Soviet Communism, his views were sought on all sorts of matters disapproved in language verging upon the violent; 6 ii. Scherzo – Pizzicato [2.22] musical and otherwise. But cold reality was to bite the ‘cheap clowning’ of Lady Macbeth being 7 iii. Elegia [5.28] bitterly. In 1934, the same year he composed his chillingly described as ‘a game of clever ingenuity 8 iv. Marcia [1.56] only cello sonata, the 27-year-old Shostakovich that may end very badly.’ The party had spoken – 9 v. Moto perpetuo [2.35] had a runaway, international success with his this music was not to be imitated and the works in opera, Lady Macbeth of the Mtsensk District, question disappeared from the repertory forthwith. Cello Sonata in C major, Op.119 (1891 – 1953) which was regarded as a high-water mark in 0 i. Andante grave [9.54] Soviet opera and was praised by the authorities Nobody in the was immune to q ii. Moderato [4.27] as ‘the result of the general success of Stalin’s Great Purge in the late 1930s. Neither w iii. Allegro ma non troppo [7.54] socialist construction’. But, in 1936, with the the poorest citizen-comrade nor the highest arts now centralized under the control of the ranking party officials could escape Stalin’s Total timings: [67.26] All-Union Committee on Artistic Affairs, the clunking fist as he sought to consolidate power tide was turning against any composers with by ‘cleansing’ the Communist Party, and the so-called ‘formalist’ tendencies. Stalin attended country at large, of so-called dissidents, JAMIE WALTON CELLO a performance of Lady Macbeth in January of undesirable anti-revolutionaries and other DANIEL GRIMWOOD PIANO that year and was offended by the forthrightness ‘enemies of the people’. Ethnic minorities were

www.signumrecords.com - 3 - deported, peasants and professionals and ostinati and prickly, high spirits – all qualities 1930s in the USA and France, where much as cultural spokesman led the party apparatchiks too far to the left or too far which would sustain his music, at least, through he tried, he failed to emulate the popularity of latest purge, in 1948, which all but made the to the right were imprisoned and killed on the times good and bad. Rachmaninov in America or Stravinsky in Western pair ‘un-persons’ in the eyes of the authorities, flimsiest of evidence or the cruel expedient of Europe. Although also a Russian composer under the so-called Zhdanov Doctrine which the forced confession. Many hundreds of Although the ramifications of the editorials were abroad, Prokofiev had neither fled nor left the held that ‘The only conflict that is possible in thousands were killed and millions more not immediately clear, the aftershocks rippled Soviet Union without official permission, had by Soviet culture is the conflict between good and consigned to labour camps. The arts were under rapidly through Soviet culture. With Stalin gearing no means ever severed ties with his beloved best.’ This meant sticking very closely to the party intense scrutiny for any perceived modernism up for the first of the infamous Moscow show Russia and, indeed, spent extended periods line on all matters creative. In practical terms, and a good many writers, artists and composers trials later in the year, and the Great Purge hot there on a number of occasions in the early 1930s. the second denunciation meant having to repent paid dearly in the process. One of the major on their heels, everyone had to watch their step. By 1936, he had moved his family permanently publicly for being off-message and the unofficial buzzwords of the time was ‘formalism’, which Shostakovich had been working on his colossal, from Paris to Moscow, where he was allowed cessation of performances for those works was essentially a charge against a work that modernist Fourth Symphony for some time, but two more tours of Europe and the USA before labelled as being of a ‘formalist’ bent. Family was not considered to appeal directly to the it no longer suited the mood of the times and he his coveted passport, a rare allowance, was privileges were also withdrawn and many masses. On this matter, Shostakovich was was forced to withdraw it during rehearsals, in removed on a technicality, and somehow never were forced into a more or less hand-to-mouth adjudged to have failed his country and comrades December 1936. Neither the Fourth Symphony returned. Whether his initial motivation was existence. During one of the interminable by producing works lacking in Socialist Realism – nor Lady Macbeth would be heard again for some concerned with his stated desire to return to his conferences where composers were coerced a serious breach of the party line. 25 years. The golden boy of Soviet music had own country, to ‘see the real Winter again’, or into delivering official apologies, Prokofiev was become a degenerate corrupter. Although he to indulge in the privileges attendant on a stunned to hear that his first wife had been Shostakovich knew nothing of the attack until eventually worked his way back into the party’s celebrated Soviet composer returning home arrested on suspicion of spying. These days later when he happened to buy a copy of favour, these were difficult times for anybody from the corrupting influence of the West, he trumped-up charges earned her eight years in Pravda at a railway station after performing his showing the merest modicum of dissent, artistic would remain for the rest of his life as an artist a labour camp, and Prokofiev would die three Cello Sonata Op.40 in Arkhangelsk with his close or otherwise. of the USSR and a musical servant to the years before she was released, in 1956. friend, the cellist Viktor Kubatsky. The sonata man with whom he would share his very dying is dedicated to Kubatsky, who gave the world All the stranger then that Prokofiev should have hour – Stalin. One of the few rays of light in this dark period premiere, with the composer accompanying, in chosen to return to his homeland in 1935, despite for Prokofiev was his collaboration with the Leningrad on Christmas Day, 1934. Written prior the various musical organisations inexorably A dozen years after the first great condemnations, spectacularly talented young cellist Mstislav to the condemnations, the work is generally coming under Communist Party control. After many a career nosedived with further charges Rostropovich (1927-2007). The composer had positive in tone, whilst retaining the composer’s leaving the evolving Soviet Union in 1918, of ‘formalism’ being aimed at both Prokofiev heard Rostropovich play his long-neglected trademark caustic wit, soulful expanses, insistent Prokofiev spent most of the 1920s and early and Shostakovich, among others. Stalin’s Cello Concerto Op.58 in 1947 and was so

- 4 - - 5 - amazed by the performance that he resolved Gone are the more abrasively dissonant young man’s first concert suit. That both of Baroque-hued evidence, he had assumed Britten to re-write the work for the cellist. The trigger techniques often so thrillingly prominent in Shostakovich’s were written was a composer from a previous century and for Prokofiev’sCello Sonata Op.119 was likewise his works and the harmony, rhythm and specifically for Rostropovich is testimony enough fell into a fit of laughter on being introduced occasioned by another Rostropovich concert, accompaniment are uncluttered and direct in to the esteem in which the composer held the to him. On realising that this was no practical this time playing a sonata by the composer’s utterance. The cello is employed particularly cellist. In his last years, Prokofiev and joke and Benjamin Britten was indeed standing long-time friend Miaskovsky. The great pianist successfully in its lower register, joyful and Rostropovich, now in his mid-twenties, became before him, he immediately set about imploring Sviatolsav Richter, who not only accompanied movingly lyrical by turns. The whole effect is fast friends, spending a number of summers the composer to write something for him. Rostropovich in the first performance of the satisfying and positive, hardly bereft of struggle, together at the composer’s dacha in Nikolina sonata, but also conducted the first performance but up-beat rather than downcast. It is hardly Gora, whilst collaborating on the re-writing of Shostakovich and Britten were admirers of each of the re-written Cello Concerto, recalls the surprising Miaskovsky thought it, ‘a miraculous the early cello concerto and on a couple of other’s work and it is hardly a surprise that background to the sonata’s premiere: piece of music.’ other cello works which unfortunately Prokofiev they became well-met acquaintances in later did not live to complete. life. Britten dedicated his church parable, The Before playing it in concert, we had to Virtually everything written for cello by the Prodigal Son to Shostakovich, who reciprocated perform it at the Composer’s Union, where these three composers represented on this CD came Rostropovich was also at the centre of the action the gesture with his Fourteenth Symphony. As gentlemen decided the fate of all new works. as a result of experiencing Rostropovich’s when Shostakovich and Britten met for the a young man, in 1936, Britten had attended a During this period, more than any other, they unique technique, inimitable sound and first time at the Royal Festival Hall in London, performance of Lady Macbeth of the Mtsensk needed to work out whether Prokofiev had abundant enthusiasm. The impact that September 1960, on the occasion of the UK District and, on witnessing the apparent produced a new masterpiece or, conversely, a Rostropovich had on the cello repertoire of the premiere of the Russian composer’s First Cello condescension from an older generation of piece that was ‘hostile to the spirit of the last century can hardly be underestimated – Concerto. Britten accepted Shostakovich’s British composers, excoriated them as, ‘the people.’ Three months later, we had to play the fact that the Shostakovich sonata was not invitation to sit with him in his box only days “eminent English Renaissance” composers it again at a plenary session of all the written for him can be put down to the cellist after being astounded by a radio broadcast sniggering in the stalls … There is more in a composers who sat on the Radio Committee, being a boy of seven years at the time of featuring Rostropovich. After the concert, single page of his Macbeth than in the whole of and it wasn’t until the following year that composition. Shostakovich soon made up for Shostakovich introduced Britten to Rostropovich their “elegant” output.’ Shostakovich, for his we were able to perform it in public, in the this oversight by accepting the young cellist, whose years behind the Iron Curtain precluded part, discovered Britten’s art only later in life, Small Hall of the Moscow Conservatory on and at the time, budding composer, into his any thorough knowledge of Britten’s output. but was no less impressed than the student March 1, 1950. composition class in 1943. Their good friendship Rostropovich had heard only the Young Person’s Britten had been of his own, almost 30 years seems to have remained tinged with a master- Guide to the , which is based on a theme earlier. It can be difficult to weigh-up Whether or not dictated by the Soviet State policy pupil relationship, though Shostakovich was by Purcell. Having not even seen a photograph Shostakovich’s articles and speeches as of the day, simplicity is paramount in the sonata. not short on kindnesses, such as funding the of Britten, and working purely on this they could easily have been made under some

- 6 - - 7 - duress. Nevertheless, his mentions of Britten instrumental music in over a decade, Britten JAMIE WALTON believe deserves wider recognition alongside tend to be unremittingly positive. But, statements himself accompanied Rostropovich in the first the classics. Their charismatic partnership such as, ‘I think that anyone who takes music performance at the in 1961. With a powerful and penetrating sound, Jamie has taken them to over 20 countries in some of seriously ought to try to get to know Britten’s Walton is becoming increasingly renowned the world’s most prestigious concert halls and works better’ certainly speak for themselves – Naturally, there were a good many differences for his purity of tone, emotionally engaging an increasing discography demonstrates one of censor or no censor. between Prokofiev, Shostakovich and Britten on interpretations and relentless commitment to the most captivating duo-ships today. matters musical and otherwise. Britten had the the music he believes in. Compared by critics It didn’t take long for the ebullient, irrepressible life-long freedom to tour the world accepting to some of the great cellists of the past his Jamie has recorded ten concertos with the Rostropovich and Britten to form a close and generous commissions, overseeing premieres, distinctive sound and clean interpretations Philharmonia and his unique interpretations lasting personal and professional relationship. absorbing the acclaim and the honours mark Jamie out as a true individualist. are receiving great critical acclaim whilst he Having no common fluent tongue, they attendant on his status. Shostakovich and gains a reputation as an original interpreter of communicated in their own bastardised form Prokofiev, after his return to Russia, maintained Having appeared throughout much of Europe, the repertoire; or as Norman Lebrecht recently of German which came to be known as a mutable status in the Soviet Union, often the USA, New Zealand, Australia and the UK wrote: “this is more than a performance; this ‘Aldeburgh Deutsch’ after Britten’s adopted rather less elevated than either desired and in some of the world’s most eminent halls, is an act of interpretation.” He has recently home town. He wrote not only his Cello Sonata sometimes fraught with danger. Nevertheless, Jamie has given radio broadcasts, recitals recorded the Dvorák and Schumann concertos Op.65, for Rostropovich, but also the three cello all three, in their own way, and with the help and and concertos in many international festivals with the Philharmonia under Vladimir Ashkenazy suites and the . Britten, his comradeship of the ever-resilient Rostropovich, and was the first cellist to give a recital in the as well as the complete works for cello by Britten partner the tenor Peter Pears and Rostropovich’s contrived to compose a number of the greatest new Melbourne Recital Centre. for a forthcoming release. wife, the soprano Galina Vishnevskaya, appear works for the cello of the last 100 years. to have enjoyed a free and easy friendship, After studying with Margaret Moncrieff at Equally passionate about chamber music meeting socially and often performing recitals. © M Ross Wells Cathedral School (where he was recently which he describes as the pinnacle of musical Aside from the cello works, Britten also wrote given a Fellowship) he continued his studies expression and experience, Jamie subsequently his song set, The Poet’s Echo for Vishnevskaya, with William Pleeth and at the RNCM where he set up and launchedv the North York Moors and the solo soprano part in his met his duo partner Daniel Grimwood. They Chamber Music Festival, an instant success was written expressly for her voice. As for the have since emerged as one of the most dynamic going on to be shortlisted for a Royal Cello Sonata itself, Vishnevskaya describes it and original partnerships of their generation, Philharmonic Society Award in 2011. as a portrait of her husband, ‘now high and frequently lauded for their passionate and expressive, now low and grumbling, now gay stirring interpretations, unifying chemistry and As a member of the Worshipful Company of and carefree.’ His first piece of entirely for championing lesser known repertoire they Musicians, he was elected into the Freedom

- 8 - - 9 - DANIEL GRIMWOOD subsequently enjoyed a solo career, which has taken him across the globe, performing in many With a repertoire, which ranges from Elizabethan of the world’s most prestigious venues and Virginal music to composers of the modern festivals. day, Grimwood is carving a reputation as one of the most varied and insightful musicians of A passionate Chamber musician, Grimwood’s his generation. Although primarily a pianist, he work has always been closely associated with is frequently to be found performing on cellist Jamie Walton. Their combined work has harpsichord, organ, viola or composing at his seen them performing a recital of Chopin at desk. Felix Aprahamian once wrote of him: Symphony Hall, Birmingham where they shared “Probably the finest all-round musician I have the evening with Krystian Zimerman, as well ever known.” as an appearance at the Chateauville Foundation in Virginia, USA at the personal invitation of He is a passionate champion of the early Maestro Lorin Maazel. piano, and performed (2009) Liszt’s Années de Pèlerinage at the Wigmore hall on an 1851 His recording and performances of Liszt on Erard to rapturous critical acclaim. His recording an 1851 Erard have won him rapturous critical of the same was CD of the week in the acclaim, and his acquisition of Moscheles’ Telegraph, Editor’s Choice in Gramophone 1840 Erard will enable him to explore the magazine and has been unanimously praised Romantic repertoire more fully. in the press.

Recorded in Wyastone Leys Concert Hall, Monmouthshire on 16 - 18 February 2011. P 2011 The copyright in this recording is owned by Signum Records Ltd. of the City of London, having performed for On being offered a scholarship to the Purcell © 2011 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. HRH The Prince of Wales. Jamie performs on a School in 1987, he studied piano with Graham Producer - John H. West Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Recording Engineer & Editor - Andrew Mellor 1712 Guarneri and is now regarded as one of Fitch, violin/viola with Elspeth Illif and Sybil Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance the most outstanding and relevant cellists of Copland and composition/counterpoint with Cover Image - “Winters Night” © Tony Pick. Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, his generation. Tim Stevenson. He later finished his pianistic www.coastalimages.co.uk or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. training under the tutelage of Vladimir Design and Artwork - Woven Design SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Ovchinnikov and Peter Feuchtwanger. He has www.wovendesign.co.uk Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com

- 10 - - 11 - ALSO AVAILABLE on signumclassics

Rachmaninov & Grieg: Cello Sonatas Chopin & Saint-Saëns: Cello Sonatas Jamie Walton, Daniel Grimwood Jamie Walton, Daniel Grimwood SIGCD172 SIGCD252

“... the musical give-and-take of these players is excellent: “Jamie Walton’s mature cello timbre and perceptiveness in they seize upon the music with enthusiasm, energy and matters of interpretation and winningly applied to this sensitivity – one can almost sense that they are keen to show coupling of two 19th-century sonatas … Finely honed stylistic us just how fine this music is ... This CD can certainly be judgment here goes hand in hand with re-creative panache.” strongly recommended. It is good to see these young artists The Daily Telegraph – HHHHH taking up these works with such conspicuous success.” International Record Review

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