Victor Herbert’s appealing‚ expertly written concerto probably inspired Dvo·ák to write his masterpiece in the form. The two works have shared a disc before‚ splendidly played by Yo­Yo Ma. The new CD has a bonus: Silent Woods‚ originally a piano duet‚ then a cello and piano piece‚ and heard here in the beautiful orchestral arrangement that Dvo·ák made in 1893. The dark‚ velvety sonority of the opening is particularly evocative. Another advantage is the exceptionally well­balanced‚ spacious orchestral sound – the grand‚ luminosity of the full orchestral passages in the Dvo·ák Concerto is most impressive. Kreger is a fine cellist; his tone clear‚ unforced and well projected‚ the singing melodies played with lovely legato phrasing‚ the brilliant passages clear and incisive. There are many magically beautiful moments‚ especially in the slow movements of both concertos. Yet‚ for all this‚ Kreger’s accounts of the two concertos don’t supersede Yo­Yo Ma’s. For one thing‚ Ma‚ Masur and the NYPO make an unbeatable team‚ shaping each movement decisively; by comparison Djong Victorin Yu’s introduction to Dvo·ák’s first movement seems a little sleepy and lacking in passion. And for all his fine style and interpretive insights‚ Kreger can’t match Ma’s warmly communicative manner‚ an extra degree of intensity that brings together the different dramatic strands of the Dvo·ák outer movements and provides a driving impetus that makes even the slightly inconsequential finale of the Herbert convincing.