Antonín DVOŘÁK (1841-1904)
Concerto for Cello and Orchestra in B minor (1894) [41.05]
Lasst mich allein No. 1 from 4 Lieder op.82 (1887) [4.25]
Goin’ Home after the Largo from Symphony No. 9 in E minor ‘From the New World) (1893) [5.31]
Songs My Mother Taught Me (No. 4 from Gypsy Melodies (1880) [2.32]
Allegro moderato No.1 from 4 Romantic Pieces op. 75 (1887) [2.56]
Silent Woods No. 5 from the Bohemian Forest op. 68 (1883) [5.59]
Kian Soltani (cello)
Cellists of the Staatskapelle Berlin
Staatskapelle Berlin/Daniel Barenboim
rec. 2018/20, Philharmonie and Siemens-Villa, Berlin
DEUTSCHE GRAMMOPHON 483 6090 [62.28]
Following in the latest fashion of recording artists discussing, within the parameters of their CD booklet notes, their feelings and impressions of working together, I was impressed with the dedication and interest Barenboim showed in working with cellist, Kian Soltani on Dvořák’s ever-popular, supremely melodic Cello Concerto. Barenboim had previously worked intensely with Soltani on many evenings following orchestral rehearsals. Soltani recalls that “[Barenboim], some years before this recording was made, but before a concert tour that included the Dvořák Concerto, spent hours working on the Concerto with me, exploring every last detail.”
This new recording has Barenboim offering open-hearted accompaniment, sensitive to the warm generous spirit of this concerto. More than in some competing recordings of this popular work, he reveals welcome subtle shades and nuances. His reading sparkles and has vigour and attack aplenty contrasted with a warm, nostalgic sentimentality that never cloys. He is aided by a warm spacious and nicely contoured recording by the DG production and engineering team.
Soloist Kian Soltani, contributes the erudite notes to this album. He notes ‘the work’s tragic side’, reminding us of its ‘sense of yearning/homesickness’ and that Dvořák was deeply affected while working on the Concerto to learn of the grave illness of the secret love of his life, Josefina Kaunitzová. Soltani’s reading is indeed deeply affecting, such that this reviewer is not ashamed to admit that tears stood in his eyes at certain salient points.
This new recording approaches the best of the competition but does not quite reach the emotional intensity of the older DG recording featuring Rostropovitch and the Berlin Philharmoniker under Karajan - my favourite recording, still, which also has the Tchaikovsky Rococo Variations
The other works in this not over-generous programme for the group of six featured cellists of the Staatskapelle Berlin are of varying interest. Lasst mich allein is a familiar theme from the Cello Concerto, and Goin’ Home is familiar from Dvořák’s New World Symphony. The colourful gypsy music influence is strong throughout Songs My Mother Taught Me and the Allegro moderato interests and holds the ear, but Silent Woods holds a special interest for me; it is a very atmospheric piece: melancholic, gaunt, dark; black trees over-arching its dread tread - indeed it is, at one point, a funeral march.
Ian Lace
