Cello Concertos

Record and Artist Details

Composer or Director: Jacques Offenbach, Camille Saint-Saëns, Pyotr Ilyich Tchaikovsky

Label: Red Seal

Media Format: CD or Download

Media Runtime: 0

Mastering:

DDD

Catalogue Number: RD71003

Tracks:

Composition Artist Credit
Concerto-rondò Jacques Offenbach, Composer
Cincinnati Symphony Orchestra
Erich Kunzel, Conductor
Jacques Offenbach, Composer
Ofra Harnoy, Cello
Concerto for Cello and Orchestra No. 1 Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer
Ofra Harnoy, Cello
Paul Freeman, Conductor
Victoria Symphony Orchestra
Variations on a Rococo Theme Pyotr Ilyich Tchaikovsky, Composer
Ofra Harnoy, Cello
Paul Freeman, Conductor
Pyotr Ilyich Tchaikovsky, Composer
Victoria Symphony Orchestra

Composer or Director: Jacques Offenbach, Camille Saint-Saëns

Label: RCA

Media Format: Vinyl

Media Runtime: 0

Mastering:

DDD

Catalogue Number: RL71004

Tracks:

Composition Artist Credit
Concerto-rondò Jacques Offenbach, Composer
Cincinnati Symphony Orchestra
Erich Kunzel, Conductor
Jacques Offenbach, Composer
Ofra Harnoy, Cello
Concerto for Cello and Orchestra No. 1 Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer
Ofra Harnoy, Cello
Paul Freeman, Conductor
Victoria Symphony Orchestra

Composer or Director: Jacques Offenbach, Camille Saint-Saëns

Label: RCA

Media Format: Cassette

Media Runtime: 0

Mastering:

DDD

Catalogue Number: RK71004

Tracks:

Composition Artist Credit
Concerto-rondò Jacques Offenbach, Composer
Cincinnati Symphony Orchestra
Erich Kunzel, Conductor
Jacques Offenbach, Composer
Ofra Harnoy, Cello
Concerto for Cello and Orchestra No. 1 Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer
Ofra Harnoy, Cello
Paul Freeman, Conductor
Victoria Symphony Orchestra
What an amiable fellow Offenbach must have been! This rediscovered concerto rondo begins with a mock military fanfare, complete with snare drums, that sounds for all the world like part of La Grande-Duchesse de Gerolstein, and then sets out on a sprightly main theme that also rounds up the work after various diversions into scherzo passages and interludes full of melancholy. The work is unremittingly tuneful, but never for a moment achieves any great intensity of emotion.
The Concerto was, of course, designed for Offenbach's own use, for he was himself a considerable cello virtuoso. It contains some formidably difficult writing, especially in the instrument's upper register. Whether it is actually the Concerto militaire of 1848 that is to be found in Offenbach work lists I am unsure. At all events, I believe that the date of 1850 attributed to it in the notes accompanying this release is no more than an approximation. The score was presented by Offenbach's descendants to the Library of Congress, and it was given its first modern performance by the forces of this recording in 1983.
Ofra Harnoy is a young Israeli-born cellist (see March, ''News & Views''), who meets every technical challenge the work presents and squeezes out every ounce of sentiment that it offers. But, as I have indicated, it is a somewhat lightweight work, and the Saint-Saens concerto therefore represents a somewhat unnatural coupling. If that is the work you want, you would probably be better off with either of the issues listed above, especially the Decca with Lynn Harrell, which offers a greater intensity of attack, more refined orchestral playing, and a better integration of soloist and orchestra. Here the soloist is placed somewhat forward. But, if you want something a little different and undeniably easy on the ear, do try this Offenbach work!'

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