CPE Bach/Vivaldi/Tartini Cello Concertos
View record and artist detailsRecord and Artist Details
Composer or Director: Mstislav Rostropovich, Giuseppe Tartini, Antonio Vivaldi, Carl Philipp Emanuel Bach
Label: Teldec (Warner Classics)
Magazine Review Date: 1/1994
Media Format: CD or Download
Media Runtime: 54
Mastering:
DDD
Catalogue Number: 9031-77311-2

Tracks:
Composition | Artist Credit |
---|---|
Concerto for Cello and Orchestra |
Carl Philipp Emanuel Bach, Composer
Carl Philipp Emanuel Bach, Composer Hugh Wolff, Conductor Mstislav Rostropovich, Composer Saint Paul Chamber Orchestra |
Concerto for Viola da gamba and Orchestra |
Giuseppe Tartini, Composer
Giuseppe Tartini, Composer Hugh Wolff, Conductor Mstislav Rostropovich, Composer Saint Paul Chamber Orchestra |
Concerto for Cello and Strings |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Hugh Wolff, Conductor Mstislav Rostropovich, Composer Saint Paul Chamber Orchestra |
Author:
Of the many modern players who increasingly are performing the smaller-scale eighteenth-century concertos, remarkably few seem able to scale down their performances down from the more familiar nineteenth- and twentieth-century proportions; in this sense period performances often seem preferable. Rostropovich, however, does have the true measure of these works and plays to an appropriate scale with a beauty of tone unimaginable from a period instrument. His eloquence has a style of its own, beyond the usual constraints of period and convention.
He is sympathetically accompanied here by the Saint Paul Chamber Orchestra, who have for many years had the benefit of the formidable period conducting skills of Christopher Hogwood, now their Principal Guest Conductor. His influence is particularly apparent in their articulation. However, since 1988 the orchestra has been conducted by Rostropovich's former assistant with the National Symphony Orchestra, Hugh Wolff (who also prepared the editions of the Tartini and the C. P. E. Bach). Under Wolff's baton, the orchestra plays diplomatically throughout, although I found the harpsichord rather too prominent in the slow movement and wonder why it was deemed necessary to augment the continuo with a double-bass. The tempos are generally well chosen—never too fast but occasionally, as in the Grave of the Tartini concerto, a little on the slow side.
The Vivaldi and C. P. E. Bach concertos are relatively well known and have been ably recorded by period players such as Christophe Coin and Anner Bylsma as well as the musically 'great and good', who until recently included Tortelier; Rostropovich himself has already recorded Tartini's A major Concerto. Here he plays in a light but never superficial way, gently shaping the motivic ideas and creating delicate echoes. The lyrical slow movements are imbued with a wistfulness and intimacy reflecting a well-known side of his musical personality; the brooding rhetorical quality of the C. P. E. Bach Adagio is especially compelling.'
He is sympathetically accompanied here by the Saint Paul Chamber Orchestra, who have for many years had the benefit of the formidable period conducting skills of Christopher Hogwood, now their Principal Guest Conductor. His influence is particularly apparent in their articulation. However, since 1988 the orchestra has been conducted by Rostropovich's former assistant with the National Symphony Orchestra, Hugh Wolff (who also prepared the editions of the Tartini and the C. P. E. Bach). Under Wolff's baton, the orchestra plays diplomatically throughout, although I found the harpsichord rather too prominent in the slow movement and wonder why it was deemed necessary to augment the continuo with a double-bass. The tempos are generally well chosen—never too fast but occasionally, as in the Grave of the Tartini concerto, a little on the slow side.
The Vivaldi and C. P. E. Bach concertos are relatively well known and have been ably recorded by period players such as Christophe Coin and Anner Bylsma as well as the musically 'great and good', who until recently included Tortelier; Rostropovich himself has already recorded Tartini's A major Concerto. Here he plays in a light but never superficial way, gently shaping the motivic ideas and creating delicate echoes. The lyrical slow movements are imbued with a wistfulness and intimacy reflecting a well-known side of his musical personality; the brooding rhetorical quality of the C. P. E. Bach Adagio is especially compelling.'
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