Antonín DVOŘÁK (1841-1904)
Cello Concerto in B minor,
Op. 104 (1894/95) [37.44]
Augusta Read THOMAS (b. 1964)
Ritual Incantations for cello and chamber orchestra (1999)
[13.25]
David Finckel (cello)
Taipei Symphony Orchestra/Felix Chiu-Sen Chen
rec. October 2003, Chungshan Hall, Taipei, Taiwan. DDD
ARTISTLED 28822-8 [51.10]
American cellist David Finckel and Taiwanese-born pianist
Wu Han are involved in wide-ranging musical activities, both artistic and
commercial. These include the independent ArtistLed label which to date has
released 18 CDs.
I have seen Finckel several times in recital the first time in Preston, England
and the last time less than a year ago at the Großer Garten, Dresden. I have
always been impressed with his passionate commitment and his rare ability
to make everything he does sound fresh.
Originally released in 2006 and titled Cello Classics New & Old
this recording of Dvořák’s Cello Concerto and the world
premičre recording of Augusta Read Thomas’s Ritual Incantations
is ArtistLed’s first orchestral release. With the present disc the label
has reissued the recording in an enhanced edition that has undergone audio
re-mastering by Grammy-winning recording producer and recording engineer Da-Hong
Seetoo.
Conducted by Felix Chiu-Sen Chen the Taipei Symphony Orchestra may not be
the best known but is clearly well prepared and plays with remarkable commitment
and no shortage of expertise. So please don’t be put off by hearing
what might seem a curious amalgam of an American soloist with a Taiwanese
orchestra performing a great romantic cello concerto by Dvořák, a native
of Bohemia.
By the early 1890s Dvořák’s fame had travelled far and wide. In
1892 he received an offer to travel to the United States from Mrs. Jeanette
Thurber, the founder of the National Conservatory of Music, New York. For
a enormous fee Dvořák eventually decided to accept the offer and from
1892 to 1895 held the position of the director of the National Conservatory
in New York City. During his stay Dvořák wrote several major works, including
the Symphony No. 9 ‘New World’, the ‘American’
String Quartet and the Cello Concerto a work widely regarded
as the crowning glory of the cello repertoire. The score is dedicated to Dvořák’s
friend Hanus Wihan, the founder and cellist of the Czech String Quartet. It
was composed in 1894/95. Its motivation came from hearing the playing of Victor
Herbert, cello principal of the Metropolitan Opera Orchestra. I have also
read recently that Dvořák found further inspiration from seeing the magnificence
of Niagara Falls.
In the Cello Concerto David Finckel expertly balances security of
control with weight of expression. It's a commanding performance of
nobility and intense concentration. In this highly impressive and characterful
interpretation, he conveys the message with power and directness. In the opening
movement, right from the first entry of the cello with the first subject at
03.30 (track 1) Finckel demonstrates an impressive strength and directness
of expression; qualities that he maintains throughout. The sheer beauty of
the great second theme, first heard on the cello at 05.33 is breathtaking.
Unlike virtually every rival version Finckel avoids drawing out the tempo
and line this preventing any over-indulgence. In his hands the Adagio
non troppo is an intensely emotional experience, the wistful song-like
melodies played with rapture and refined tenderness. In the final movement
there's an exciting bite to his playing. Right from the opening bars
of the fiery orchestral introduction to the tempestuous conclusion Felix Chen
conducts with authority. With playing as splendid as this from the Taipei
Symphony Orchestra it would be difficult to know that the listener wasn’t
hearing one of the world’s better known orchestras.
The main competition in the Dvořák concerto comes from the award-winning
1969 Jesus-Christus-Kirche, Berlin account from Rostropovich with the Berliner
Philharmoniker under Karajan on Deutsche Grammophon. With Rostropovich in
his prime and for its feeling of spontaneity, stunning virtuosity and strength
of passion the recording deserves its eminence. I also admire the intensely
moving performance from Jacqueline du Pré with the Swedish RSO under Sergiu
Celibidache on Teldec. Notable too for its nobility and lyricism is the account
from Pierre Fournier with the Berliner Philharmoniker under George Szell on
Deutsche Grammophon. Newly released is another highly passionate account that
I greatly enjoy. This is played by Christian Poltéra with the Deutsche Symphonie-Orchester
Berlin under Thomas Dausgaard. It was recorded in 2014 at the Jesus-Christus-Kirche,
Berlin on BIS. Without surpassing the above accounts, particularly the magnificent
Rostropovich recording, Finckel’s performance can certainly stand in
the same elevated company.
The composer Augusta Read Thomas was born in 1964 in New York and studied
at Northwestern University, at Yale University and at the Royal Academy of
Music in London. In 2010 Thomas was appointed Professor of Composition in
the Department of Music at the University of Chicago. Thomas is known as a
passionate and highly original voice among American composers. Her influences
come not only from the world of music (J.S. Bach, Berio, Boulez, Byrd, Debussy,
Knussen, Mahler, Messiaen, Varčse and Webern among them), but also from literature,
especially poetry. In a November 2001 essay, musicologist Seth Brodsky argued
that the poetic idea of image offers insight into Thomas’s compositional
art. Various images, the sun, light, the voice, song, bells and stars run
through her works.
Composed in 1999 in response to a commission by Thomas van Straaten, Ritual
Incantations was introduced by David Finckel and the Aspen Music Festival
Chamber Orchestra under Hugh Wolff the same year. The three movement score
gives directions to orchestra, soloist, and conductor all of which reflect
the images that define the spiritual world that Thomas seeks to convey in
her music:-
I: Majestic; driving and persistent; cantabile
II: Mysterious and expansive; longing; yearning
III: Spirited; passionate, bold and lyrical
In Ritual Incantations Finckel offers the ingredients of vitality,
passion and sense of risk. This all adds up to an enthralling performance
throughout the score’s “musical landscapes.” Well supported
by conductor and orchestra, his playing is both brilliant and dedicated. I
especially enjoy Finckel’s performance of the central movement where
the “Mysterious and expansive; longing; yearning” imagery is evocatively
portrayed and delivered with unyielding concentration.
The new liner-notes for this ArtistLed reissue with a note from Augusta Read
Thomas are interesting and helpful. Add to these elements attractive new artwork.
While I was delighted with the sonics of the original release in its re-mastered
form the recording sounds exceptional: clean, vividly clear and gratifyingly
balanced. In the face of fierce competition David Finckel gives one of the
finest accounts I have heard of Dvořák’s Cello Concerto.
The Augusta Read Thomas work is fascinating and engaging, deserving of attention.
Michael Cookson
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