The Rhythm-Meter-Tempo Triad in Dmitri Shostakovich's Concerto no. 1 for Cello and Orchestra, op. 107
The Rhythm-Meter-Tempo Triad in Dmitri Shostakovich's Concerto no. 1 for Cello and Orchestra, op. 107

Summary/Abstract: This paper deals with the relationship between rhythm, meter and tempo in Dmitri Shostakovich’s Concerto No. 1 for cello and orchestra, Op. 107. The author's observations stem from his personal experience as a conductor, from his work on the score and from his own public performance of the piece. The sonorous motion, which incorporates all the aspects herein considered, impresses from the very first bars of the work. The author emphasizes the exceptional combinatorial force of the composer who, in this respect, managed to turn this concerto into an absolute model of its kind! The author identifies the common combinations of rhythm and meter, along with those defining Shostakovich's style, sprinkled with subtle or obvious polyrhythms and polymeters. Other aspects emphasized are the essential role of the tempo in the development of the musical discourse and the way in which, beyond the technical difficulties, the music almost imposes its own pace. The author also points out how other elements besides the standard ones like accent and rhythmic pattern, or beat and measure, concur towards a good relationship between rhythm and meter, with particular emphasis on the expressive legato, which acquires rhythmic and metric functions. In an attempt to gain a clearer insight into the compositional process and to support his theoretical assertions, the author provides a number of examples from the score, of which some are strictly rhythmic excerpts. The study is intended as a homage to and an exercise of admiration for the composer and for his first concerto for cello and orchestra.

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