Dmitri Shostakovich spent 20 years composing under the threatening and oftenstifling influence of Stalin’s regime. The dictator’s death in March 1953 (on the sameday as Sergei Prokofiev’s) led to a feeling ofliberation that spread throughout the Soviet Union; this newfound freedom began to manifest itself in Shostakovich’s music.The first movement of Cello Concerto No.1(1959) is based on the composer’s own DSCH motif and is succeeded by a folk?infused second movement, followed by a substantial cadenza for the soloist and an exhilarating dance finale. Cello Concerto No.2 (1966)could not be more different, beginning with a sombre Largo with a modal or oriental flavour, after which the eerie glissandi of the second movement give way to an Allegretto finale, which focuses on the combat between the horns and side drum. This movement contains a distinctive tapping motif that many have interpreted to be symbolic of the clicking medical equipment used during the composer’s treatment for a heart condition. Alexander Ivashkin, encouraged to become a solo cellist by the legendary Mstislav Rostropovich, has performed all over the world alongside a variety of established artists and orchestras. He is also in constant demand as a conductorand is currently the Director of Performance Studies at Goldsmiths College, University of London.

Alexander Ivashkin cello

Moscow Symphony Orchestra

Valery Polyansky conductor