June 5, 2019

  • Catching a Khachaturian Cello Concerto

     

    Khachaturian: Cello Concerto; Concerto-Rhapsody
    Torleif Thedeen, cello.  Rhine Philharmonic State Orchestra/Daniel Raiskin
    CPO 555 007
    Total Time:  57:04
    Recording:   ****/****
    Performance: ****/****

    Khachaturian’s (1903-1978) has always had a place in popular classical music cemented through his ballet music for Gayaneh and Spartacus.  In the 1940s and 1950s, his orchestral music was also often programmed with his Violin Concerto being among his most popular works in that genre, only perhaps superseded by the transcription for flute.  His music for cello has not really grabbed the attention of more international soloists, though this new release by Swedish performer Torleif Thedeen is a step in that direction.  This new CPO album, recorded over three years ago, is now bringing another pairing of these larger works for orchestra and cello together in this new release that mirrors these forces and conductor exploring similar works for piano and orchestra.

    The Cello Concerto in e (1946) was composed at the beginning of Khachaturian’s growing popularity for the great cellist Sviatoslav Knushevitsky.  He was one of the members of a famed trio for which Khachaturian wrote a concerto for each of them.   The concerto is cast in three movements with the opening movement almost equal to the length of the two which follow it.  Both tender lyrical playing as well as the ability for a host of double and triple stop techniques are required in the work.  A somber opening gives way to the cello’s lyrical line.  The music has that quality one finds in his Gayaneh music with folkish melodic suggestions.  Folk rhythms also provide a further engaging entry into the music.  A lengthy cadenza presents the lyrical optimism and more introspective sides of the piece.  The orchestra then rejoins for an exciting, though somewhat odd, conclusion.  An unusual flute idea wafts across the darker textures of the central movement where more dissonance begins to appear.  Though one does not always associate political connections in Khachaturian’s music, one has to wonder if this is not one of the rare moments when there may very well be one.  This is not the adagio of Spartacus, though the chromaticism and shape of the music seems to have made its way into that later work in a similar guise.  The movement has a fascinating exploration of woodwind colors that help provide further interest to the long, lyrical solo line.  The music seems to move on a slow, march-like trajectory with signs of hope.  The Armenian melodies and rhythms return in the finale which begins to spin along to eventually collapse.  Echoes of Shostakovich are here and encourage revisiting that composer’s work from this period for comparison.  With the Armenian musical references of the first movement, the nocturnal ruminations and overwhelming emotional loss that seems to set a pall over the second movement, and the finale’s sense of resistance being overcome one might be able to discover this work with an eye more toward history.  It may be the very things that the Soviet government also heard when it denounced the work after its premiere.  Thedeen tackles this piece with great commitment.  His cadenza in the first movement is simply incredible with the finale’s requirements allowing him to explore some of the more technical virtuosity that seems to just move about with ease even in the breathless final moments.  Raiskin also seems to understand this work and its possible external connections and helps bring them out.  This helps keep things moving more in the conclusion more instead of losing intensity.

     

    As with the concerto’s Khachaturian composed, the same holds true for the three Concerto-Rhapsodies The one for cello was completed in 1963 and written for the great Mstislav Rostropovich.  It is filled with plenty of semi-improvisational sections for the soloist interspersed with orchestral episodes.  The first of these is the brief opening fanfare.  Then follows an extensive cadenza for the soloist where the remaining thematic ideas are laid out in tour-de-force of technical virtuosic display.  The harmonic writing tends to be a bit more advanced, but Khachaturian’s blend of modal and diatonic writing is still very much stylistically in keeping with earlier works.  The orchestra takes a back seat often with some moments of reflection but often to add punch to sections before the soloist returns.  An exploration of a little three-note motif provides some elegiac moments of regret to the music.  The next segment picks up the pace a bit.  Khachaturian also adds a touch of folkish rhythmic play here as well.  The piece is really more a showcase for its soloist’s technique with melodic content not quite as memorable.  Still, those who appreciate the composer’s style will find much here to enjoy.

    Thedeen’s technique is not to be underestimated.  His performances here move through the challenges presented with an ease that is jaw-dropping at times.  The orchestra proves to be a perfect supporter as well.  The shaping of the music additionally really helps make the pieces connect at a deeper level with the sort of wistfulness and sardonicism that might be overlooked in Khachaturian’s music.  Certainly this is a release for any Khachaturian fan, but the concerto in particular has a lot for listeners to ponder.  Another successful endeavor in the Khachaturian catalog from these forces.