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| Disc: 1 | |||
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| 1. Overture to Guillaume Tell (William Tell): Part 1. | |||
| 2. Sonata for viola da gamba & keyboard No. 1 in G major, BWV 1027: Adagio | |||
| 3. Jocelyn, opera: Berceuse | |||
| 4. Caprice and Elegy, for cello & chamber orchestra, RT vii/8: Elegy | |||
| 5. Polonaise de Concert for cello & piano, Op 14 | |||
| 6. An den Frühling (To Spring), lyric piece for piano, Op. 43/6 | |||
| 7. Hungarian Fantasy, for cello & piano | |||
| 8. Samson et Dalila, opera in 3 acts, Op. 47: Softly Wakes my Heart | |||
| 9. The Sleeping Beauty, ballet, Op. 66: Act 2. Vision Scene | |||
| 10. Élégie: O doux printemps d'autrefois, for voice & piano (from 'Mélodies, Vol.1') | |||
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| Disc: 2 | |||
| 1. I Masnadieri, opera: Overture (Excerpt) | |||
| 2. Ein Morgen, ein Mittag, ein Abend in Wien (Morning Noon and Night in Vienna), overture from the incidental music: Excerpt | |||
| 3. Sonata for arpeggione & piano in A minor ('Arpeggione Sonata'), D. 821: Allegretto | |||
| 4. Suite for solo cello No. 2 in D minor, BWV 1008: Allemande | |||
| 5. Suite for solo cello No. 2 in D minor, BWV 1008: Courante | |||
| 6. Strophes sur le nom de Sacher (3), for cello: Strophe No. 3 | |||
| 7. Pohádka (Fairy Tale), for cello & piano ('The Story of Tsar Berendyey'), JW 7/5: III | |||
| 8. Figaro (concert paraphrase of 'Largo al factotum' from Rossini's 'Barber of Seville'), for cello & piano | |||
| 9. Sonata for solo cello, Op. 8: Allegro molto vivace | |||
| 10. Albumblätter (Album Leaves), for cello & piano, Op. 51: No. 5 | |||
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Most Helpful Customer Reviews
5.0 out of 5 stars
A rich and varied feast,
By
This review is from: The British Cello Phenomenon: A Survey of 29 Great Performers (Audio CD)
This is a simply marvellous issue, of excellent transfers of English cellists, some now legendary, playing a fascinating range of music, with something for all tastes. If one's a little disappointed to get only a single movement from the Fauré and Rubbra cello sonatas, this is only because the playing is so good. Some of the items are arrangements of works for other combinations, which may irritate purists, but those of Debussy's Prelude à l'après-midi d'un faune and Grieg's To the Spring are both remarkably successful, and add to one's appreciation of the originals. For me there is a particular fascination in hearing William Pleeth play a movement of the cello sonata Rubbra wrote for him, while the longest item in the collection is his pupil Jacqueline Du Pré playing the Rubbra Soliloquy for Cello and Strings in a live performance, in precisely the manner in which I remember Pleeth himself playing it fifty years ago, that is, with stunning intensity and warmth of tone, a real revelation of the power of Rubbra's music when in the right hands; this item alone is worth the price of the whole collection.
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