Zara Nelsova (cello)
Cello Concertos & Sonatas
Lothar Broddack, Artur Balsam (piano)
Radio-Symphonie-Orchester Berlin/Georg Ludwig Jochum; Gerd Albrecht
Track-listing and timings below
rec. 1956-65
AUDITE 21.433 [4 CDs: 295:21]
The Canadian cellist Zara Nelsova (1918-2002) hasn’t
been overly represented on CD, and a quick browse on Amazon throws up very
little; most seems to have been deleted. In 2004 Decca released a 5 CD set
in their Original Masters series (475 6327), dedicated to the cellist, which
I’m thankful I purchased at the time. Sadly it is no longer available.
This new 4 CD release of RIAS recordings, made between 1956 and 1965, is a
desirable addition to the artist’s discography, and includes works she
never recorded commercially.
Born in Winnipeg, Canada, she hailed from a musical family; her grandfather
was an opera singer, her father a flautist, and her two sisters took up the
violin and piano. In 1928 the family moved to London, and the ten year old
Zara entered the London Violoncello School. She also had some private tuition
from John Barbirolli, who started his career as a cellist. A year later the
three sisters formed ‘The Canadian Piano Trio’, which lasted for
ten years, travelling quite extensively all over the world. At thirteen Zara
performed the Lalo Cello Concerto under Sir Malcolm Sargent. When war broke
out, she returned to Canada, and took up the post of principal cellist of
the Toronto Symphony Orchestra. Her greatest influences at the time were Casals,
Feuermann and Piatigorsky. She was fortunate to be able to study for six weeks
with Casals at the Prades Festival in 1948.
By the 1950s Nelsova’s career had reached its peak, and she was dubbed
‘Queen of Cellists’. It had been something of a struggle for her
establishing a career as a female in a male-dominated arena. In 1953 she took
American citizenship, and from 1962 taught at the Juilliard in New York and
the Royal Academy of Music in London. She formed a close friendship with the
composer Ernest Bloch, who composed works for her, and she became a great
interpreter of his music, especially of the three Solo Cello Suites. Unfortunately,
the composer isn’t represented in this compilation, though she did make
studio recordings of his music, including three versions of Schelomo
(review
review
review).
A decade before this Dvořák was taped, Nelsova set down a mono recording
with Josef Krips and the LSO in the Kingsway Hall, London, issued on CD in
Decca’s Original Masters box. Tempi in this RIAS recording are slightly
brisker, and the opening movement has more of a spring in it’s step.
Krips is too held back for my taste. Nelsova seems to respond with warmer
playing, being swept along by the more inspirational conducting of Georg Ludwig
Jochum. Even brisker is the version she recorded for Vox (1974) with the Saint
Louis Symphony Orchestra under Walter
Susskind, again preferable, in my view, to the Krips’. The Schumann
Concerto, again under the baton of Georg Ludwig Jochum, is an impassioned
and technically accomplished affair. Despite the orchestration being sparse
and exposed in places, the conductor points up the orchestral gems that lie
within to alluring effect.
Nelsova never made a commercial recording of Kabalevsky’s Cello Concerto
No. 1 in G minor, Op. 49, though a filmed version exists on VAI (DVD 4370)
in which she is partnered by the Ochestre de Radio-Canada under Alexander
Brott. The performance here is given with the Radio-Symphonie-Orchester Berlin
and Gerd Albrecht. This is music which deserves to be better known. It is
full of gorgeous tunes and is very pleasing to the ear. The performance exudes
confidence and excitement. Two extrovert outer movements frame a Largo.
Nelsova’s heartfelt rendition of the slow movement has a soulful quality,
and this contrasts with a finale which is energized and high-spirited. There’s
a Russian flavour to the music, successfully captured in this truly compelling
reading. The VAI DVD also contains an alternative version of the Boccherini
Cello Sonata No. 4, accompanied by John Newmark. In the version here, the
pianist is Lothar Broddack. It’s a two-movement work, an Adagio
followed by an Allegro. Nelsova draws a rich burnished tone in the
opening movement, and the Allegro is exquisitely phrased and articulated.
Unlike Jacqueline du Pré, Nelsova to my ears is a player who generally keeps
her emotions under wraps. Never one to over-gild the lily, I feel that the
Schumann Fantasy Pieces, Op. 73 are too reined in and maybe would have benefited
from a little more passion and involvement ŕ la Maisky and Argerich. Running
for only thirteen minutes, the Milhaud Cello Concerto No. 1, Op. 136 is a
little charmer. The opening movement marked ‘Nonchalent’
is exactly that, and breezes along without a care in the world. The sombre,
funereal Grave offers a suitable contrast. A joyous romp of a finale
sets the seal on a winning performance.
As far as I can ascertain, the three Bach Solo Cello Suites we have here are
the only examples of these works in the cellist’s discography, however,
she did record Bourrées I and II from the Third Suite, BWV 1009 for Decca
in April 1955. What particularly attracts me to these Bach performances is
that tempi seem to be just right. There’s rhythmic flexibility and instinctive
contouring of the line. Brandishing a commanding technique, intonation is
faultless throughout. I have no doubt that she would have picked up a few
tips from Casals from ten years earlier at Prades, as these are probing, spiritual
and sublime accounts. I’m particularly enamoured of the way she contrasts
the dark undercurrents of BWV 1008, with the upbeat character of BWV 1009.
Her big, sonorous tone is ideal for this music and listening to these traversals
makes me regret that she never recorded a complete cycle.
In 1956, Nelsova recorded the complete Beethoven Cello Sonatas with the Polish
pianist Artur Balsam, which are included in the Original Masters box. A few
years later she taped three of them for RIAS, the Op 5 Nos 1 & 2 with
Lothar Broddack and Op. 102 No. 2 again with Artur Balsam. Though cast in
a similar interpretative mould, the RIAS recordings have a much warmer glow
and immediacy. I also find Balsam more sympathetic and engaging than Broddack,
probably the result of their previous collaboration. In the Brahms Sonatas,
Nelsova is paired with Balsam in Op. 38, and Broddack in Op. 99. Both are
idiomatic, evenly measured and stylish performances. Nelsova’s rich,
full-bodied tone is ideal for this music, and she projects well. Once again,
I do prefer Balsam’s artistry over Broddack’s.
Audite have worked wonders in the re-mastering of these original analogue
tapes, injecting new life into them. Sound quality throughout is first rate.
Norbert Hornig has provided informative annotations in German with English
translation by Viola Scheffel. This attractive set should adorn the shelves
of any lover of great cello playing.
Stephen Greenbank
Track-List
CD 1 [78:47]
Antonin DVOŘÁK (1841-1904)
Cello Concerto in B minor,
Op. 104 [39:23]
Robert SCHUMANN (1810-1856)
Cello Concerto in A minor, Op. 129 [25:41]
Darius MILHAUD (1892-1974)
Cello Concerto No. 1, Op. 136 [13:39]
Radio-Symphonie-Orchester Berlin/Georg Ludwig Jochum
rec. 1960, Berlin
CD 2 [77:41]
Johann Sebastian BACH (1685-1750)
Suite in D minor, BWV1008
[17:22]
Suite in C major, BWV1009 [22:37]
Suite in D major, BWV1012 [29:40]
Luigi BOCCHERINI (1713-1805)
Cello Sonata No. 4 in A major, G 4 [7:50]
Lothar Broddack (piano) (Boccherini)
rec. 1959-60, Berlin
CD 3 [74:19]
Ludwig van BEETHOVEN (1770-1827)
Cello Sonata in F major, Op. 5/1 [23:40]
Cello Sonata in G minor, Op. 5/2 [22:26]
Cello Sonata in D major, Op. 102/2 [19:27]
Robert SCHUMANN
Fantasy Pieces, Op. 73 [8:39]
Lothar Broddack (piano) (Beethoven: Op. 5/1 and 2, Schumann)
Artur Balsam (piano) (Beethoven: Op. 102/2)
rec. 1959-60, Berlin
CD 4 [64:34]
Johannes BRAHMS (1833-1897)
Cello Sonata in F major, Op. 99 [24:33]
Cello Sonata in E minor, Op. 38 [21:12]
Dmitri KABALEVSKY (1904-1987)
Cello Concerto No. 1 in G minor, Op. 49 [18:38]
Lothar Broddack (piano) (Brahms: Op. 99)
Artur Balsam (piano) (Brahms: Op. 38)
Radio-Symphonie-Orchester Berlin/Gerd Albrecht
rec. 1956-1965, Berlin
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