Customer Reviews

Cello Concerto

5 star:		(3)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

While there are moments when one could wish for the fuller, lusher sound of the BPO's strings, both Rostropovich's performance and the sound quality lift this recording of the Dvorak B-minor Concerto head and shoulders above the DG version with Von Karajan and the Berlin Philharmonic. Rostropovich pushes the envelope again and again, giving his performance a drive and emotional intensity virtually unmatched by any other reading in the catalogs. Truly a Dvorak to move the soul.

While his playing is masterful in Tchaikovsky's Rococo Variations, here the Karajan/BPO disc reigns supreme.

Rostropovich is ably backed by the Boston Symphony Orchestra under Seiji Ozawa; the winds in particular shine in this superb Erato recording. The perfect disc would couple the Erato Dvorak with the Deutsche Grammophone Tchaikovsky, but if you can't justify both, the Ozawa/Boston Symphony disc is the one to have. This reading of the Dvorak is simply not to be missed.

Sound quality purists will certainly want this fine recording; among the most distinguished ever made by Rostropovich, Ozawa and the Boston Symphony Orchestra. Others will want it simply because it is undoubtedly one of the two best performances of the Dvorak Cello Concerto ever recorded - and both were performed by Maestro Rostropovich. Here he plays with a bit more passion than in his earlier Deutsche Grammophon recording, giving a masterful performance that penetrates the very depths of Dvorak's emotionally charged score. Ozawa and the Boston Symphony Orchestra yield one of their finest performances; perhaps the best I have heard of a concerto (Though I will confess that those I've heard with Perlman and Ozawa and the BSO performing the Berg Violin Concerto and Ax and Haitink and the BSO performing Brahms' 1st Piano Concerto are almost as excellent as this recording.). Erato's sound engineers have produced yet another superb recording. The sound quality of the winds and string sections is absolutely impeccable. I also enjoyed Rostropovich's vibrant performance of the Tchaikovsky score; it's just as fine as his earlier Deutsche Grammophon version. I own both this recording and Deutsche Grammophon's; it's a difficult decision for me to decide which has given me more pleasure.

The late Mstislav Rostropovich and Seiji Ozawa deliver probably the greatest digital recording of the Dvorak concerto. For those familiar with the analog Karajan/Rostropovich recording, this digital recording finds the soloist creating a similar impression married with a more supportive Ozawa and the Boston Symphony. Karajan's creamy string sound and often overly-dramatic stylization is replaced here by Ozawa's stricter approach; his handling of the orchestra is masterful in this taught, precise reading. The legendary Boston Symphony responds resplendently and, although they may not highlight the rustic Czech idiom of this music, they certainly bring much charm, warmth, and expected musicality to the accompaniment. But enough about the orchestra - on to Rostropovich.

Rostropovich is as stunning as ever here. His technique is second to none and his rich, full-bodied sound suites the bohemian master's concerto perfectly. Rostropovich's approach in this reading is tighter and stricter than in his Karajan recording, which creates a more focused and more satisfying interpretation. There are too many wonderful moments to highlight within each of the movements, but just to name a few, listen to Rostropovich's dazzling finger work in the opening movement, his subtlety in the wonderful slow movement, and his unstoppable energy in the finale. It is everything you could want the Dvorak Concerto to be.

The Tchaikovsky Rococo Variations are equally fine. Rostropovich and Ozawa give an equally exciting and phenomenal performance of the variations with the proper amount of refined grace and energy.

For those who cannot decide whether to buy Rostropovich under Karajan or under Ozawa, I obviously lean towards the latter, due mainly because Ozawa is a slightly more sensitive accompanist than Karajan and the Boston Symphony's timbral qualities are more appropriate to this music than the Berlin Philharmonic. Still, Karajan's recording is reference and his band equally accomplished. But in the end, its Rostropovich's show, and he certainly shines brightest here in these fantastic staples of the cello literature.

The other reviewers here have already done a good job identifying what is good about this recording, and there is a good reason why this CD is often considered the reference of the Dvorak Cello Concerto, just a hair above Rostropovich's earlier recording with Herbert von Karajan and the Berlin Philharmonic. Rostropovich's magnanimous, astonishingly broad tone and passionate, but balanced playing puts this recording of the Dvorak Cello Concerto at the very top of the list.

In addition, as another reviewer has already mentioned, Ozawa offers Rostropovich a cleaner, tighter accompaniment than Karajan, one, e.g., that is completely together (unlike Karajan, as best as I can tell) on the first note of the first forte tutti section in the second movement of the Dvorak Concerto. And all this is rendered in a newer, more modern recording that is arguably cleaner and more balanced than Rostropovich's earlier recording with Karajan on Deutsche Grammaphon.

Having said that, here is why I continue to prefer the Karajan/DG recording over this present album. (1) DG's sound engineering was and still is one of the best in the classical music industry, and in the Karajan/DG recording, Rostropovich comes through with a little bit more background noise, yes, but also with remarkably greater warmth and passion. In comparison, this Erato recording seems a little bit "antiseptic" or sanitized, if you will, IMHO. (2) For all of Ozawa's greater attention to detail, there are times when Karajan lets the orchestral accompaniment soar in a way that is so natural, yet so emotional, that Ozawa sounds stilted in comparison in this recording, IMHO. (3) The Karajan/DG recording breaks up Tchaikovsky's Rococo Variations into several different tracks, with one track corresponding to each variation. I especially love the 6th variation, and this little fact just seals the deal for me.

Having said all that, you can't go far wrong with either recording. Both come highly recommended, not just by me, but by many music listeners around the world. Whichever one you buy (if any, at all), I hope you enjoy it fully!