Ii heard Daniel Müller-Schott play the Dvorak in Köln. He did a recording of it which I haven't heard. It's on the Orfeo label so I probably ought to buy a copy.
Here is;
https://www.amazon.com/Dvorak-Cello-Works-Daniel-Müller-Schott/dp/B00JGSHJSS
Dvorak Cello Concerto
Some recordings imprint us with impressions of a piece that any other interpretation just doesn’t sound right, particularly if we have listened to that recording a bunch prior to hearing others. In this work I had a recording by Maurice Gendron, a French Cellist known more as a teacher than a recording artist, and Haitink with the LPO, that I played the proverbial grooves off 40 years ago.
The piece itself is one of Dvorak’s greatest. He was a superb melodist.. Brahms once said that other Composers could make a career using the chips that flew off his workbench. However a lot of his works can sound formulaic, as he tries to make those gorgeous tunes fill up a structure they can’t support. When he was inspired however, he soared, and this Concerto is one of his peaks. Written after several years in America when he was pining to be home with his family, he also learned that his sister in law, who was his first love and with whom he stayed close after his own marriage, had died. He incorporates some songs that he had written for her in the piece, and the juxtaposition of the symphonic scope of the work with the interludes of aching nostalgia is irresistible.
It was years before I heard another recording and they all sounded somewhat slick in comparison. They just don’t seem to be inside the work as my favorite. Is this for real or was I so shaped by my initial impression.
Lately I’ve been listening to Alissa Weilerstein with Jiri Behlolavak (who died soon after the recording) and the Czech PO. I finally have a recording that has supplanted the long term favorite. I still prefer some of the rubato in Gendron/Haitink, but Weilerstein still dishes the emotion but more as a Polka then a Waltz. And her tone is golden. She floats a pianissimo at the end that is to die for
Showing 7 responses by goofyfoot
@melm , I'll agree that the performance practice during the time of Fournier, Starker, is different from today. I find that true however with violin, piano, etc... as well. Conservatories are different than they once were. The definite advantage to newer recordings is the sound quality. In my prior post I had said that I saw Daniel Müller-Schott play the Dvorak but now I'm thinking it may have been the Elgar. I actually saw Alisa Weilerstein play the Dvorak. Anyway, both are wonderful players. |
@mahler123 yes, it was wonderful seeing and hearing such a gifted cellist in the Cologne Philharmoniker. I wish I could remember the orchestra. I believe it was one of the smaller but skilled nonetheless, German Orchestras from around the Rheinland. Thing about Cologne and that concert hall is that they have about five or six performances a week. Sometimes orchestras but also chamber and solo music recitals. They also host jazz groups. And unlike Paris, it’s not that difficult to get a ticket. I’d full heartedly recommend a trip to Cologne to anyone who’s never been. |
@mahler123 There's also the Cologne WDR Symphony and Chorus and the Cologne Philharmonic but many orchestras from throughout Europe travel to Cologne. I've also been to Berlin but not much seemed to be going on there during Xmas/Hanukah. Paris has a lot going on with six or more concert houses. I was there when the Salle Pleyel scheduled Martha Argerich and Friends and it sold out in less than two hours.I didn't get a ticket. |
@melm I can't say always, as I haven't compared every recording but in my experience, newer recordings generally sound better than vintage unless the older recordings were successfully remastered from the original tapes. I have many remastered recordings from the golden age of recording, 1918 to early 1960's and very much appreciate what they are but most are in mono and the very early recordings sound rough. On the other hand, I was listening to a recent Deutsche Grammophon Taneyev Chamber Music CD and it sounded just better than average with some poor sounding patches throughout. I ditched it after the piano quintet and played an early Wilhelm Backhaus recording which to me was much easier to enjoy. |
@melm yeah, well you asked me if newer recordings 'always' sound better than earlier recordings so I just answered the best I could. And, my reference to using master tapes means the original tapes from the original recording. Microphone placement varies today just as it always has. The Jean-Guihen Queyras Dvorak recording from Harmonia Mundi is open and natural sounding so I would guess that the microphone placement is further away from the cello. Also, the same types of microphones are available today just as they were back in the day. Telefunken still makes their ELA M 251E, U47 and C12 vacuum tube microphones. I have no desire to argue, especially where it pertains to personal preference but recording technologies have progressed over the years. Whether a record label is capable or willing to use these technological advancements is questionable. I've been amazed at the remastering job Analogue Productions did with the RCA Living Stereo of 'Scheherazade'. This recording is a simple three track recording from around 1958. The Analogue Productions remaster is nothing short of amazing. I did state that I thought the performance practice of works is different now from what it used to be and for me, that is neither good or bad because there are great contemporary performances and great historical performances. I believe this applies to the Dvorak Cello Concerto as well. |