Dvorak's Cello Concerto

[snyprrr]

Laserlight's finest hour:

1) 14:39
2) 10:52
3) 11:49

i'M TELLIN YA aint gonna get any better on the fly than the Perenyi on LASERLIGHT!! Their finest CD (w/Hindemith).

And yes, the Julian Lloyd Webber Philips Czech/neumann recording is wonderfully wallowing


perenyi
Perenyi
PERENYI

[aligreto]

I don't know the Perenyi/Fischer version; I must look it up.

[geralmar]

My preferred recording is Piatigorsky/Munch; but more for the conductor and orchestra than the cellist.

Incidentally, early reviews of the DG Fournier/Szell recording stated that the cellist was supposed to have been Rostropovich; however a scheduling problem necessitated the substitution of the soloist.

[mszczuj]

I will be reading through this thread to see if I am missing any vital performances. Your thoughts and recommendations would be interesting to read now given how old this thread is.

Nelsova/Susskind + Saint Louis Symphony Orchestra was one of the most fascinating concerto experience in my life.

Dvorak was alway one of my beloved composers (all right not top three but somtimes top ten and always top thirty which means really beloved) and I had listened to a majority of his works (except some songs, cantatas, a capella choral music, organ pieces, early ouvertures and five operas) and to great amount of them frequently. But I had never found Cello Concerto really worth to be considered his materpiece. This recording changed my mind as I discovered the whole incomparable richness of interplay between soloist and orchestra while listening to it.

[Mirror Image]

Nelsova/Susskind + Saint Louis Symphony Orchestra was one of the most fascinating concerto experience in my life.

Dvorak was alway one of my beloved composers (all right not top three but somtimes top ten and always top thirty which means really beloved) and I had listened to a majority of his works (except some songs, cantatas, a capella choral music, organ pieces, early ouvertures and five operas) and to great amount of them frequently. But I had never found Cello Concerto really worth to be considered his materpiece. This recording changed my mind as I discovered the whole incomparable richness of interplay between soloist and orchestra while listening to it.

I heard the Cello Concerto seven years ago and it remains, for me, one of the most incredible pieces of music I know.

[JoshLilly]

Dvořák wrote at least two cello concerti that survive to this day:

Cello Concerto in A, B.10
Cello Concerto in B minor, B.191

Just thought I'd point out that there's not just "Cello Concerto"!

[Mirror Image]

Dvořák wrote at least two cello concerti that survive to this day:

Cello Concerto in A, B.10
Cello Concerto in B minor, B.191

Just thought I'd point out that there's not just "Cello Concerto"!

Sure, the reason though I said the Cello Concerto is because most people don't know the earlier work. I don't even think I've heard this work.

[mszczuj]

Dvořák wrote at least two cello concerti that survive to this day:

Well, "wrote two" is rather exaggeration. He didn't orchestrated the A major concerto, and both recorded orchestrated versions are edited and cut. No reason to count it.

[mszczuj]

I heard the Cello Concerto seven years ago and it remains, for me, one of the most incredible pieces of music I know.

May be you have more luck with interpretation than me? I had got some Supraphon LP, not very interesting indeed, but I listened to other as well and never found the development part of the first movement as fascinating as its exposition - till Nelsova/Susskind when I realized that in fact it is by far the best fragment of the work and one of the most magical moments of music ever.

[aligreto]

Nelsova/Susskind + Saint Louis Symphony Orchestra was one of the most fascinating concerto experience in my life.

Dvorak was alway one of my beloved composers (all right not top three but somtimes top ten and always top thirty which means really beloved) and I had listened to a majority of his works (except some songs, cantatas, a capella choral music, organ pieces, early ouvertures and five operas) and to great amount of them frequently. But I had never found Cello Concerto really worth to be considered his materpiece. This recording changed my mind as I discovered the whole incomparable richness of interplay between soloist and orchestra while listening to it.

Thank you for that. I do not know the Nelsova/Susskind but I will certainly check it out 

[Turner]

Will mention that there are several Fournier recordings, such as those with Scherchen, with Kubelik (mono), and with Celibidache (mono) too.

Enough "Bump" of old threads today, I guess 

[aligreto]

Will mention that there are several Fournier recordings, such as those with Scherchen, with Kubelik (mono), and with Celibidache (mono) too.

Enough "Bump" of old threads today, I guess 

I have one performed by Fournier on my List which I obviously have not bought yet - I cannot remember who the conductor is at the moment though.

[amw]

I feel like you can learn most of what you need to know about a recording of the Dvořák Cello Concerto [no. 2] by listening to how the cellist plays the long-held F-sharp that is his or her penultimate note. >_>

[audio]https://dl.dropboxusercontent.com/u/32084883/03-05%20-%20Anton%C3%ADn%20Dvo%C5%99%C3%A1k%20-%20Cello%20Concerto%20in%20B%20minor%2C%20B.%20191%20%28Op.%20104%29-%203.%20Finale.%20Allegro%20moderato.mp3[/audio]

I've never found the perfect recording tbh—specifically the right match of interpretation and cello sound. Rostropovich/Talich is interpretively perfect but I cannot stand Rostropovich's tone. Capuçon/Järvi has perfect cello sound but is interpretively not much to write home about. The much-lauded Fournier/Szell is very good in both respects but falls slightly short. (I like Fournier better with Celibidache, but the sound is obviously dreadful.) (edit: apparently there are two Fournier/Celibidaches? Anyway I mean Fournier/Celi/London, not Fournier/Celi/Berlin. And despite the sound still probably a top 4-ish.) Queyras/Bělohlávek and Poltéra/Dausgaard are closest to perfect in both respects, I guess, though of course I slightly prefer Queyras's cello playing to Poltéra's, whilst slightly preferring Dausgaard's conduction to Bělohlávek's. Can't win

The one exception I'm willing to make is for du Pré, who is essential for me even though her sound is somewhat nasal and her intonation is often approximate.

Anyway I brought this up because I'm currently listening to a completely unknown-to-me combination of performers, Pablo Ferrández on the catgut and Radoslaw Szulc (I think there must be a ł or several in there but no idea where) waving at the Stuttgart Philharmonic, which I'm liking very much and it seems to be on its way to the upper rankings of my estimation.

[aligreto]

I feel like you can learn most of what you need to know about a recording of the Dvořák Cello Concerto [no. 2] by listening to how the cellist plays the long-held F-sharp that is his or her penultimate note. >_>

[audio]https://dl.dropboxusercontent.com/u/32084883/03-05%20-%20Anton%C3%ADn%20Dvo%C5%99%C3%A1k%20-%20Cello%20Concerto%20in%20B%20minor%2C%20B.%20191%20%28Op.%20104%29-%203.%20Finale.%20Allegro%20moderato.mp3[/audio]

I've never found the perfect recording tbh—specifically the right match of interpretation and cello sound. Rostropovich/Talich is interpretively perfect but I cannot stand Rostropovich's tone. Capuçon/Järvi has perfect cello sound but is interpretively not much to write home about. The much-lauded Fournier/Szell is very good in both respects but falls slightly short. (I like Fournier better with Celibidache, but the sound is obviously dreadful.) (edit: apparently there are two Fournier/Celibidaches? Anyway I mean Fournier/Celi/London, not Fournier/Celi/Berlin. And despite the sound still probably a top 4-ish.) Queyras/Bělohlávek and Poltéra/Dausgaard are closest to perfect in both respects, I guess, though of course I slightly prefer Queyras's cello playing to Poltéra's, whilst slightly preferring Dausgaard's conduction to Bělohlávek's. Can't win

The one exception I'm willing to make is for du Pré, who is essential for me even though her sound is somewhat nasal and her intonation is often approximate.

Anyway I brought this up because I'm currently listening to a completely unknown-to-me combination of performers, Pablo Ferrández on the catgut and Radoslaw Szulc (I think there must be a ł or several in there but no idea where) waving at the Stuttgart Philharmonic, which I'm liking very much and it seems to be on its way to the upper rankings of my estimation.

Thank you for that. I have checked this out and the CD below is obviously the one that you are enjoying....

[Ubiquitous]

Can't win

Have you tried this [audio]https://dl.dropbox.com/s/vrqzqtiswvo0al3/1.mp3[/audio] , this [audio]https://dl.dropbox.com/s/b4upj36ud99w3mm/2.mp3[/audio] or this [audio]https://dl.dropbox.com/s/htyokgvzfjnvqva/3.mp3[/audio] ?

[mc ukrneal]

Have you tried this [audio]https://dl.dropbox.com/s/vrqzqtiswvo0al3/1.mp3[/audio] , this [audio]https://dl.dropbox.com/s/b4upj36ud99w3mm/2.mp3[/audio] or this [audio]https://dl.dropbox.com/s/htyokgvzfjnvqva/3.mp3[/audio] ?

Second one has some remarkable control.

[amw]

Don't recognise any of them offhand, but Nos. 2 and 3 are intriguing.

[Brian]

The single flute note at the end of the adagio is my personal version of amw's touchstone. I mean, the soloist isn't involved in it, so it's more of a conductor/flautist test, but...that note kills me.

[Daverz]

The last one I had really enjoyed was Angelica May, a Rostropovich pupil.  Her Martinu is also great.

[asin]B000003571[/asin]

[Ubiquitous]

Maria Kliegel, Heinrich Schiff and Raphael Wallfisch respectively.