This issue neatly plugs two gaps in the catalogue. The cello and orchestra version of the Op. 16 Suite (originally with piano) is extremely effective, with the composer’s own colourful and transparent instrumentation. The “Romance” sounds particularly fine with its expressive, original harmonies, and prominent woodwind, and Maria Kliegel and the Bournemouth players are thoroughly in tune with the spirit of the music.
The Second Cello Concerto of 1902, the last of Saint-Saens’s ten concertos, lacks the highly memorable melodies of the popular First Concerto, but it has other qualities – a fin de siecle richness of harmony in the slower music, and a two-movement form that’s both original and cogent. It’s also very virtuosic, and Maria Kliegel performs with impressive panache and precision. A most welcome addition to the catalogue, then, especially in such a persuasive performance – and at a super-bargain price.
The First Concerto, too, is well played, but on its own wouldn’t be my first recommendation. Han-Na Chang’s performance has a wonderful sense of line – coming both from the 13-year-old soloist and the inspired reading of the orchestral part, and a splendidly rich sound. By comparison, the Naxos recording, though realistic and well balanced, doesn’t sound so full and warm, and the performance seems a little disconnected, with some beautiful sections, like the second theme in the finale, next to others that are ‘milked’ for immediate effect. Yo-Yo Ma’s is a very personal view – free, intense and compelling. And the 1948 Fournier recording, sounding amazingly well, remains the most urbane and elegant interpretation, and the one with the strongest sense of unity.'