This monument to Mstislav Rostropovich appeared in the little square at the crux of Moscow’s Bryusov Pereulok and Yeliseyevsky Pereulok in 2012, five years after the cellist died. He was one of the great artists and great citizens of the world. He sheltered Alexander Solzhenitsyn in the early 1970s, when that writer was under attack from the Soviet authorities. But I don’t want to get into listing all of this cellists great deeds – I’ll never get anything else said.
I used to see Rostropovich perform frequently in the 1980s in Washington, D.C., when he was the musical director and principal conductor of the National Symphony Orchestra. I loved him for his temperament, his enthusiasm, his passion. No symphony orchestra could merely play under the direction of his baton. The musicians had to perform. With Shostakovich at the helm, the National Symphony Orchestra was a beast – a live, living organism that breathed and seethed. I know, I know. There are those who thought Rostropovich, especially as a conductor, was too emotional. In my book: Baloney. Rostropovich brought class, quality, breadth and depth to classical music in D.C. during his tenure. He breathed life and importance into a sleepy art form in a sleepy, or as the song has it – a “bourgeois” – town.
In Moscow, from the Perestroika era on, Rostropovich was a frequent and welcome guest. He rarely missed an opportunity to make it known what side he was on politically – showing up to play his cello as the Berlin Wall fell, and showing up in Moscow during the coup in Moscow to lend his support to Boris Yeltsin. The monument in Moscow is a multi-layered work by sculptor Alexander Rukavishnikov and architect Igor Voskresensky. Among other things, it includes a page from the music to one of the works that Sergei Prokofiev wrote expressly for the musician.