HAYDN Cello Concertos
View record and artist detailsRecord and Artist Details
Composer or Director: Carl Philipp Emanuel Bach, Joseph Haydn
Genre:
Orchestral
Label: Audite
Magazine Review Date: 03/2016
Media Format: CD or Download
Media Runtime: 67
Mastering:
DDD
Catalogue Number: AUDITE97 716

Tracks:
Composition | Artist Credit |
---|---|
Concerto for Cello and Orchestra No. 1 |
Joseph Haydn, Composer
Joseph Haydn, Composer Marc Coppey, Director, Cello Zagreb Soloists |
Concerto for Cello and Orchestra No. 2 |
Joseph Haydn, Composer
Joseph Haydn, Composer Marc Coppey, Director, Cello Zagreb Soloists |
Concerto for Cello and Strings |
Carl Philipp Emanuel Bach, Composer
Carl Philipp Emanuel Bach, Composer Marc Coppey, Director, Cello Zagreb Soloists |
Author: Charlotte Gardner
As it happens, Marc Coppey and the Zagreb Soloists have left me somewhere betwixt and between with this recording, but more as a result of the third concerto on the disc, CPE Bach’s slightly earlier A major Cello Concerto, than because of the two Haydn concertos, which are in fact hugely enjoyable. Let’s take the Haydn pair first, these are elegant, winsomely tender performances, Coppey’s beautifully spun long lines accentuated further by his comparatively legato delivery and singing tone. The virtuosity never feels forced either, helped by the infallible, bang-on accuracy of his intonation and articulation. Moving on to the Bach, all those same qualities are there to be enjoyed in Coppey’s playing, matched by a crisp, glowing, joyful performance from the orchestra, and yet Bach’s music is capable of more dancing lightness than we hear from the cello here.
An element of this sturdiness no doubt springs in part from the amalgam of ‘historically informed’ and modern performance practices used: we’re at modern pitch (A=442kHz), Coppey is playing his 1711 gut-strung Matteo Goffriller with a modern bow, while the orchestra are on gut-strung modern instruments but using natural horns. Still, I suspect it’s largely down to Coppey, and in fact the recording’s overall balance and blend are very satisfying, helped further by the subtly supportive acoustic of Zagreb’s Lisinsku Small Hall.
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