Elgar Orchestral Works
View record and artist detailsRecord and Artist Details
Composer or Director: Edward Elgar
Label: Classics
Magazine Review Date: 4/1993
Media Format: CD or Download
Media Runtime: 61
Mastering:
DDD
Catalogue Number: CDCF507
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Cello and Orchestra |
Edward Elgar, Composer
Alexander Baillie, Cello BBC Philharmonic Orchestra Edward Downes, Conductor Edward Elgar, Composer |
Variations on an Original Theme, 'Enigma' |
Edward Elgar, Composer
BBC Philharmonic Orchestra Edward Downes, Conductor Edward Elgar, Composer |
Author: Edward Seckerson
Every performance of the Cello Concerto has its individual character different shades of the same regret, melancholy and nostalgia. Alexander Baillie's thoughtful, undemonstrative, painfully honest account makes no secret of its world-weariness: this Elgar is slowly withdrawing into itself. There is more sadness than serenity in his inflexion of the first subject (always so revealing)—the fight has left him, the tone is generally reflective, the manner understated. We are a very long way from the outgoing heat and heartache of a Du Pre (EMI). He is tasteful, some would say shy, in his response to Elgar's many expressive markings, largamente bars and the like. At the come prima (6'45'') in the first movement he chooses to pass over the tenuto in the first bar—many do (Isserlis still special—on Virgin is an exception). A tiny, fussy nuance, perhaps, but one which I would have thought entirely in character with Baillie's reading, suggestive at least of a fleeting hesitancy.
In that spirit he might also have made a shade more of the fading tenutos which mark out the first phrases of the slow movement. The required effect here, I always think, is of tentative speech, insecurely trailing off with each attempt. But the movement is attended with a modesty and fineness of tone we should applaud, touchingly withdrawn on the final page with Baillie affecting a lovely ascent and pause on the fragile pianissimo D natural just before the tune is simply, finally stated. And for real finality, the epilogue is beautifully done: Baillie duly delivers in Elgar's con passione bar, sforzandos tugging away; the piu tranquillo measures are daringly withdrawn to the most exquisite dolcissimo, all emotion spent. Sir Edward Downes's accompaniment is so good as to be almost invisible. It isn't at all, of course—detail after detail alerts the ear.
Perhaps it's time for a Downes revival, an Indian summer on disc: perhaps it can begin here with this wholehearted Enigma. It stands up well in an impossibly competitive field—perhaps because it is so wholehearted: open-faced and unbridled. No fading, sepia cameos, these: the ''Friends Pictured Within'' are suddenly flesh and blood. ''W. M. B.'' and ''Troyte'' bluster without apology, the latter's pianistic thumping emphatically registered in one or two terrifically assertive timpani and bass drum thwacks, ''Winfred Norbury'' and ''Dorabella'' are all lace and charm, graceful violin and even bassoon frills infinitely delicate. The BBC Philharmonic woodwinds are a personable team (a splendidly full-toned clarinet for the ''Calm Sea'' Romanza), while the strings are given full rein in ''Nimrod''—just the right tempo here from Downes, long-breathed but not Bernstein-indulgent, not overly pious, Wagnerian, except in the ringing Nothung-like trumpet at the climax. Excellent sound—so if the coupling suits you, you should sample alongside the identical Lloyd Webber/Menuhin disc (Philips). I am inclined to prefer their marginally more 'personal' flavour. Otherwise it's still Du Pre and Isserlis embracing both extremes of the Concerto and a whole clutch of quality Enigmas, among them an exceptional Norman Del Mar/RPO version in DG's mid-price Galleria series.'
In that spirit he might also have made a shade more of the fading tenutos which mark out the first phrases of the slow movement. The required effect here, I always think, is of tentative speech, insecurely trailing off with each attempt. But the movement is attended with a modesty and fineness of tone we should applaud, touchingly withdrawn on the final page with Baillie affecting a lovely ascent and pause on the fragile pianissimo D natural just before the tune is simply, finally stated. And for real finality, the epilogue is beautifully done: Baillie duly delivers in Elgar's con passione bar, sforzandos tugging away; the piu tranquillo measures are daringly withdrawn to the most exquisite dolcissimo, all emotion spent. Sir Edward Downes's accompaniment is so good as to be almost invisible. It isn't at all, of course—detail after detail alerts the ear.
Perhaps it's time for a Downes revival, an Indian summer on disc: perhaps it can begin here with this wholehearted Enigma. It stands up well in an impossibly competitive field—perhaps because it is so wholehearted: open-faced and unbridled. No fading, sepia cameos, these: the ''Friends Pictured Within'' are suddenly flesh and blood. ''W. M. B.'' and ''Troyte'' bluster without apology, the latter's pianistic thumping emphatically registered in one or two terrifically assertive timpani and bass drum thwacks, ''Winfred Norbury'' and ''Dorabella'' are all lace and charm, graceful violin and even bassoon frills infinitely delicate. The BBC Philharmonic woodwinds are a personable team (a splendidly full-toned clarinet for the ''Calm Sea'' Romanza), while the strings are given full rein in ''Nimrod''—just the right tempo here from Downes, long-breathed but not Bernstein-indulgent, not overly pious, Wagnerian, except in the ringing Nothung-like trumpet at the climax. Excellent sound—so if the coupling suits you, you should sample alongside the identical Lloyd Webber/Menuhin disc (Philips). I am inclined to prefer their marginally more 'personal' flavour. Otherwise it's still Du Pre and Isserlis embracing both extremes of the Concerto and a whole clutch of quality Enigmas, among them an exceptional Norman Del Mar/RPO version in DG's mid-price Galleria series.'
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