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| Yakov Kreizberg Picture © Marco Borggreve |
The next jolt of energy came in the form of Shostakovich’s First Cello Concerto op.107 with Daniel Müller-Schott as the soloist. From his first bright, sprightly note one could hear the difference—in attitude rather than dexterity—from the very un-soloistic tone that Sebastian Klinger had delivered two days before in the Dvořák concerto across town. The immediate opening is one aspect that makes the First Cello Concerto such refreshing Shostakovich: you get to the hyperactive parts without having to wade through all the labored build up. Those in the restless subscription audience who could not befriend the work—not even the askew beauty of the marvelous slow movement—had time to focus on the gorgeous-looking conducting of Kreizberg; so picture perfect the dashing, ever engaged young maestro that it borders caricature. You might say that Kreizberg is the Hugh Jackman of conducting.
The cadenza—a movement of its own and awfully extensive—allowed to marvel at Müller-Schott’s abilities more than the music itself, but the brief, hectic finale with the modified DSCH motif that is traded between cello and the solitary horn, brings back the lusty mayhem that even a dark and troubled Shostakovich can provide. The slow movement of Dvořák’s Sixth Symphony was perhaps a little phlegmatic, but the other three were strident, even flamboyant. With nothing not to like for the ears, and Kreizberg for the eyes, this was highly enjoyable, albeit not particularly memorable, stuff.
 Shostakovich, Cello Concertos, Müller-Schott / Y.Kreizberg / BRSO - Orfeo |  Shostakovich, Cello Concerto No.1 (& VC.No.1, Rostropovich / Mitropuolos / NYP - CBS/Sony |
 Dvořák, Symphony No.6 (& 8), Y.Kreizberg / Netherlands PO - Pentatone |  Dvořák, Symphony No.6 (& 8), Myung-Whun Chung / WPh - Deutsche Grammophon |
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