Shostakovich’s Cello Concerto No. 1 is a work of such melodic and rhythmic ingenuity and superior craftsmanship that it hardly seems possible for a competent cellist to perform it badly. Even Valeri Polyansky, who in his previous Shostakovich symphony recordings for Chandos revealed no special flair for the composer, does a fairly decent job of conveying the concerto’s gruff joviality interspersed with poignant melancholy. Franz Helmerson has full measure of the solo part, which he performs with notable security and confidence–and a healthy smattering of bravura. However, he doesn’t really explore the score’s neurotic tension as does Rostropovich (for whom Shostakovich composed the concerto) in his inimitable recording with Eugene Ormandy (whose Philadelphia Orchestra easily outplays the Russian State Symphony).
More recently, Heinrich Schiff (Philips) and Torleif Thedéen have provided excellent modern recordings that point up Helmerson’s relative lack of engagement, particularly in the great third-movement cadenza. Yes, he skillfully navigates Shostakovich’s fiercely challenging runs, wide intervals, and grinding portamentos, but he takes no risks, and there’s little sense of the struggle or catharsis this music evokes as it spills over into the grotesque finale.
Concerto No. 2 follows a similar pattern, with Polyanski providing ample support for Helmerson’s polished playing, though this work (especially the diffuse, wandering finale) seems better suited to the soloist’s temperament. Despite a rather cavernous acoustic, Chandos’ recording provides good cello/orchestra balance, but Thedéen’s BIS disc sports superior sonic realism to go along with its more compelling performances. That’s the one to choose in this repertoire.
