Farewell to Slava

“A sad day for cellists”, the phrase echoing throughout the world in today’s media. Not just a sad day for cellists, nor just for musicians, but for anyone who is touched by music.

Rostropovich, who died today at 80 after battling intestinal cancer, was a character whose presence will forever be felt by musicians around the world. The history books are full of articles relating tales of Soviet opression, being stripped of his Soviet citizenship, championing freedom of expression and often suffering the wrath of the Soviet government for doing so. Amazing landmark performances include a performance of the Dvorak Concerto (Dvorak the greatest Czech composer) at the UK Proms which was met with jeers from the audience as that day in 1969 Russian tanks had rolled into Prague – the audience, forgetful of Slava’s fight for freedom, reduced him to tears as he apologised for Russian actions before delivering his encore. Rostropovich also played Bach at Check-Point Charlie as the wall that had divided Berlin was torn down by those living either side of the historical divide.

However, the lighter side of the anecdotes being told today more accurately reveal how Rostropovich managed to touch so many people. For example the accounts of him wearing a tutu and lipstick whilst performing The Swan for Isaac Stern’s 70th birthday, or tales of him pasting centrefolds from top-shelf magazines into piano parts for his accompanists to find mid-performance.

TV and radio has today been filled with cellists stepping forth to tell how Rostropovich inspired them to play the cello. I have to admit that, rather embarassingly in high-brow circles, it was Julian Lloyd-Webber with his rather cavalier attitude complete with Kennedy-esque rock performances that encouraged me to stick with the cello. However, it was Rostropovich’s interpretations that inspired me in my more advanced studies, in particular his amazing loud sound and emotional tone (I even have my own bent-spike in homage). It was also watching him play the Dvorak in the Barbican that inspired me to play the concerto during my masters degree.

But what of Rostropovich himself, what inspired him to play the cello? Rostropovich said ““When I started learning the cello, I fell in love with the instrument because it seemed like a voice — my voice”. As he turned 79 last year he declared that he would never play the cello in public again, and it’s sad to think that it was maybe this loss of the voice, that had led him down such an incredible path in life, that led to his decline.

I’m sure I won’t be the only cellist returning to the Shostakovich Concerto tomorrow, the work written for Rostropovich and most associated with him…

The full NYTimes Obituary