Symphony for Cello and Orchestra, Op. 68 (1963) [35:19]
Sonata in C major for Cello and Piano, Op. 65 (1961) [20:45]
Zuill Bailey (cello)
North Carolina Symphony/Grant Llewellyn
Natasha Paremski (piano)
rec. live, Meymandi Concert Hall, Duke Energy Center for the Performing Arts, Raleigh, North Carolina, 8-9 February 2013 (Symphony); Clonick Hall Studio, Oberlin Conservatory of Music, Oberlin, Ohio, 19 August 2013
TELARC TEL-34412-02 [56:10]
Once considered a “difficult” work for both performers
and listeners, Britten’s Cello Symphony has now come into
its own based on the number of recent recordings it has received.
Naturally, some of this has to do with the composer’s centenary
last year, but the symphony does seem much more approachable now
than it did years ago. I had the pleasure of reviewing a new recording
of the piece as part of an all-Britten orchestral CD with the
BBC Philharmonic and Edward Gardner (Chandos)
a while ago. The soloist on that recording was Paul Watkins. There
I noted that Watkins and Gardner treated the work as a symphony
with the cellist as primus inter pares, who performs his
solos eloquently. What made that so special was the way Gardner
integrated the orchestra’s role with that of the soloist
and brought out all kinds of detail. The standard against which
that recording and all subsequent accounts is to be judged is
the authoritative account by Mstislav Rostropovich with the composer
conducting the English Chamber Orchestra (Decca). There Rostropovich’s
sheer personality tended to dominate the proceedings. As impressive
as Rostropovich is, I found Watkins and Gardner’s more symphonic
approach refreshing and still do. If anything, Zuill Bailey on
this new recording even dominates the performance more, at least
as Telarc has recorded him.
The thing one first notices about the performances is Bailey’s
big tone that at times overwhelms everything else. It gives the
impression of the microphone being placed very close to the instrument.
This is not to say that he covers up the orchestra because Telarc
has everything sounding rather close for the most part. It is
a typical production for this label with a powerful bass response
and very full sound. What is lacking is a little distance between
the listener and the performers. I found myself turning down the
volume throughout when comparing this with Rostropovich/Britten
and Watkins/Gardner. While Bailey clearly relishes the work and
has conquered its challenges, his tone as recorded lacks the variety
of that of Rostropovich or Watkins. Also, the orchestral dynamics
are not as varied as with the others. It may be an overstatement
to say that they play loud and louder, but that is the impression
the recording gives. A case in point is the timpani solo at the
beginning of the third movement where both Britten and Gardner
have the timpani more distant in the beginning and gradually increase
the dynamics to make a really shattering impact, whereas Grant
Llewellyn has the timpani loud from the beginning. Some of this
may be due to microphone placement or engineering after the fact.
The opening trumpet solo of the Passacaglia finale should
be dominant and heard above the cello. It is with both Britten
and Gardner; with Llewellyn the cello dominates and partially
spoils the effect. On the other hand, there are some wonderful
details in the orchestra that come through especially well on
the new recording: the woodwinds in the second movement, trombones
in the third movement, and superb clarinet and horn in the finale.
If I had been at the concert where this performance was recorded
I would have been tremendously impressed, as the orchestra-not
one of the first-tier orchestras-plays very well, as does the
cellist. As a recording left for posterity, though, it leaves
something to be desired. I much prefer Zuill Bailey’s account
of the Dvořák Concerto with the Indianapolis Symphony
that I reviewed
here, where there is a more natural balance between cello
and orchestra.
The Britten Cello Sonata, unlike the symphony, was recorded in
the studio and leaves a totally different impression. Here Zuill
Bailey and pianist Natasha Paremski seem a very well matched team.
The recorded sound, while close and present, is much better balanced
than in the symphony. Comparing this new recording with that of
Rostropovich and Britten, I found it to be a close call with their
illustrious predecessors. In many ways the interpretations are
quite similar, too. Highlights in the new account include the
third movement, Elegia, where Bailey is lyrical and romantic
with outstandingly beautiful cello tone. Later the duo become
very dramatic with those “Russian” stomping chords
in the piano played with real intensity. The final, Moto Perpetuo,
movement really gives off sparks and lives up to its designation.
Overall, I prefer this performance to Gautier Capuçon’s
with Frank Braley, as good as that is. As I noted in the review
of that recording, we seem to be spoiled for choice in this work.
Accompanying the CD is a glossy booklet with color photos of the
musicians. It contains a lucid discussion of the works and their
provenance by William Robin with due attention paid to the friendship
of Britten and Rostropovich, initially through Shostakovich. In
the end, I would hesitate to favour this rather short disc for
the Cello Symphony, but the Cello Sonata is another story. Fans
of Zuill Bailey will need no urging from me as they follow the
progress of one of our leading cellists.
Leslie Wright
Britten discography &
review index
Support
us financially by purchasing this disc from |
|
 |
 |
 |
|