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Bohuslav �Ѳ����پ���ů’s first cello sonata, also in D minor, felt like a twin for the Shostakovich piece, driven to a fast and furious ending in the parallel major.

The young Argentine cellist Sol Gabetta was sinewy and sonorous in �Ѳ����پ���ů’s First Concerto—one of three concerto performances with Leonard Slatkin and the Los Angeles Philharmonic.

That same day, Laurence Lesser, a Piatigorsky pupil who serves as the cello sage at the New England Conservatory, advised Annie Jacobs-Perkins, another Kirshbaum protégée, on �Ѳ����پ���ů’s Second Sonata.

His discography also includes a wide range of chamber and vocal repertoire of the early periods, as well as neoclassical music by such composers as �Ѳ����پ���ů, Stravinsky, Britten, Copland, Tippett and Honegger.

The second half was devoted to two works with a close kinship – �Ѳ����پ���ů's Double Concerto for two string orchestras, piano and timpani was unashamedly modelled on Bartók's Music for Strings, Percussion and Celesta, and both were commissioned by Paul Sacher for his Basel Chamber Orchestra.