Shostakovich, Cello Concerto No.2, Op.126, Heinrich Schiff, Conductor: Maxim Shostakovich, 1984

"It is a haunting piece, lyrical in feeling, and gently discursive, sadly whimsical at times and tinged with a smiling melancholy that hides deeper troubles. Hearing it again in this fine new recording, it strikes as puzzling that its neglect both in the concert hall and on the gramophone has been so total. Recommended with enthusiasm."
(Robert Layton, Gramophone)
Bavarian Radio Symphony,
Conductor: Maxim Shostakovich
Released: 1984
I. Largo 00:00
II. Scherzo - Allegretto 14:07
III. Finale - Allegretto 18:14

[@elmeruldal7929]

Best performance i’ve heard!! The tempo is spot on

[@lucianomaia3064]

Absolutly AMAZING performance!!

[@stephenhall3515]

Schiff is perfect for this perfect concerto.
Usually overshadowed by the wrist-slashing, emotive 1st concerto of 1959, the 2nd of only seven years later is Shostakovich in the early stages of his late period of inevitability.
By this time the long-suppressed 4th symphony and the astonishment at what it contained (notably the bone rattling dark humor) was in the repertoire and the composer had got the 11th and 12th "narrative" works out of his system, the 2nd 'cello concerto seems to find Shostakovich on course.
The work does not set out to raise blood pressure and is a masterclass in through-composed structure in the classical tradition yet is packed full of questions and motifs requiring the listener to hitch ride on the journey. Curiously, it has much in common with the Sibelius 4th symphony in this respect but Shostakovich treats us to some jokes and diversions as we reach a steady canter in the last movement having begun the work with the slow movement -- perhaps a nod to Haydn there.
As the work unfolds we get deeper and deeper into the composer's 'inevitable' mode and dwelling on what is left. This is sometimes mistaken for a preoccupation with death but only the very last works have touches of rage, notably the last quartet and viola sonata.
Here Shostakovich is almost affable and terrifying in one go.
As a piece of music there is perfect balance and control, albeit needing very careful playing and some tricky bending of notes and that it where Schiff is the man for the job. More emotive players can overlook details and get a bit carried away but not Schiff.
Out of all recordings so far this one is most true to the score and Maxim S seems to really love and understand the piece for what it is, the same as Schiff.