Bedrich SMETANA (1824-1884) Selections from Ma Vlast (1874-1879): Vyšehrad (The high castle) [14:44]; Vltava (The Moldau) [12:05]; ţárka [9:47]
Zuill Bailey (cello)
Indianapolis Symphony Orchestra/Krzysztof Urbanski
rec. 30-31 March 2012, Hilbert Circle Theatre, Indianapolis. DDD
TELARC TEL-34030-02 [64:20]
Zuill Bailey launches into the opening phrase of the Elgar concerto in
emphatic style. After this the emotional temperature of the movement seems
to drop a little, with the first subject in the Moderato having
quite a self-contained feel. I once read a comment about this tune to
the effect that it should sound like someone walking easily into an unfamiliar
landscape. Bailey captures this feeling to perfection, playing with beautiful
tone and seamless legato phrasing. Urbanski produces a similarly refined
contribution from the orchestra, with the tuttis being particularly smoothly
launched; I could have done with a bit more grip from the brass. The transition
from the Lento to the Allegro molto is ably done, with
good rapport between the conductor and soloist. Bailey always sounds totally
in control - never making an ugly sound. The Adagio begins in
a mood of tender reverence. This movement is both mourning and celebratory,
and Bailey and Urbanski handle its delicate mood most sensitively. The
war-machine music brings some deliberately forced tone from Bailey, and
he plays the extended arpeggio passage with terrific power. The orchestral
interjections are vital yet refined, avoiding the brassy glare that sometimes
arises from Elgar’s scores. Bailey achieves great inwardness in the slow
lamenting passage, surely one of the most moving ever written for the
cello. The return of the opening theme has real anger, plunging into the
headlong coda with thrilling effect.
This is a really interesting and quite nuanced performance of one of the
masterpieces of the cello repertoire. The opening movement may at first
seem a bit cool, but Bailey and Urbanski capture the very British reserve
that is an important facet of Elgar’s style. Starting off in a low-key
fashion also allows them to ratchet up the intensity as they proceed,
and they really go for it in the finale. I certainly got much more out
of this performance than I did from Peter Wispelwey’s, which to me did
not communicate on an emotional level at all. Those who find du Pré a
bit overwrought, on the other hand, will probably find in Bailey an ideal
middle ground. His technique is clearly formidable, and his rich yet penetrating
tone is well captured by the Telarc engineers. Cello aficionados will
be interested to hear that his instrument is a Matteo Gofriller from 1693.
He is a little forward in the balance, but not excessively so, and Urbanski
is a sensitive accompanist who also gives the orchestra its head in the
tuttis. The performance was given live, at an unspecified date, presumably
in the Hilbert Circle Theatre, Indianapolis. Whatever the venue, the acoustic
has a pleasant woodiness, with rather boomy timpani sound. The audience
is entirely silent throughout, only revealing its presence through the
rather tepid applause at the end. The citizens of Indianapolis must be
well served for live music!
The four excerpts from Smetana’s Ma Vlast are also very well
played. The harp is nicely resonant in Vyšehrad, and Vltava
is a little more expansive than Talich’s classic recording with the Czech
Philharmonic. These performances, also live, pointed up some surprising
echoes of Wagner in Smetana’s orchestral writing, both in terms of scoring,
and in the development of the musical argument. The orchestra plays responsively
throughout, with a sophistication and polish that feel quite European.
I was not quite sure what to make of this coupling. Those wanting Ma
Vlast will go for one of the numerous complete recordings, but it
certainly is an impressive showcase for the Indianapolis orchestra.
A performance of the Elgar cello concerto that is thoughtful and rich
in feeling.
Guy Aron
A performance of the Elgar cello concerto that is thoughtful and rich in feeling.
See also review by John Quinn
Support
us financially by purchasing this disc from |
|
 |
 |
 |
 |