Dimitri Shostakovich (Russian, 1906-1975): Violin Concerto no. 1, cadenza
A “cadenza” in a concerto is an interlude in which the soloist plays alone without the orchestra. Usually, it is an opportunity for the soloist to “show off” their virtuosity, and has little musical weight. But this cadenza is a crucial part of the structure of this piece, almost a movement in itself. I first heard Oistrakh’s (for whom the piece was written) performance of this cadenza on a PBS special about the violin. His pacing is masterful, starting almost static, and then building gradually, terrifyingly, to the entrance of the orchestra. I was completely sucked in. This is not music to be enjoyed lightly; one could not describe it as “pleasant,” in the traditional sense.
Much of the music of Shostakovich can be understood in terms of his relationship with his country and its government. He lived a lot of his life in terror of Stalin, who killed many friends and family members. Stalin’s disapproval of Shostakovich’s compositions could well have been a death sentence. The violin concerto was written during a period of strict censorship, and so it wasn’t premiered until after Stalin died.
(Parents: I am leaving it to your judgement how much of these “blurbs” you share with your children, and what is age-appropriate for them, especially with a difficult subject like Shostakovich. But everyone can listen to all music and understand it at their own level.)
The cadenza happens from about 28:13-32:38 (I recommend giving yourself at least a minute lead in so you can hear how the cadenza is set up. Of course you can watch as much as you want!)