Schumann Symphony No 2. Cello Concerto
View record and artist detailsRecord and Artist Details
Composer or Director: Robert Schumann
Label: DG
Magazine Review Date: 11/1986
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 419 190-1GH
Tracks:
| Composition | Artist Credit |
|---|---|
| Symphony No. 2 |
Robert Schumann, Composer
Leonard Bernstein, Conductor Robert Schumann, Composer Vienna Philharmonic Orchestra |
| Concerto for Cello and Orchestra |
Robert Schumann, Composer
Leonard Bernstein, Conductor Mischa Maisky, Cello Robert Schumann, Composer Vienna Philharmonic Orchestra |
Composer or Director: Robert Schumann
Label: DG
Magazine Review Date: 11/1986
Media Format: CD or Download
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 419 190-2GH
Tracks:
| Composition | Artist Credit |
|---|---|
| Symphony No. 2 |
Robert Schumann, Composer
Leonard Bernstein, Conductor Robert Schumann, Composer Vienna Philharmonic Orchestra |
| Concerto for Cello and Orchestra |
Robert Schumann, Composer
Leonard Bernstein, Conductor Mischa Maisky, Cello Robert Schumann, Composer Vienna Philharmonic Orchestra |
Composer or Director: Robert Schumann
Label: DG
Magazine Review Date: 11/1986
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 419 190-4GH
Tracks:
| Composition | Artist Credit |
|---|---|
| Symphony No. 2 |
Robert Schumann, Composer
Leonard Bernstein, Conductor Robert Schumann, Composer Vienna Philharmonic Orchestra |
| Concerto for Cello and Orchestra |
Robert Schumann, Composer
Leonard Bernstein, Conductor Mischa Maisky, Cello Robert Schumann, Composer Vienna Philharmonic Orchestra |
Author: Robert Layton
Trevor Harvey, writing in January, found the earlier in bernstein's Schumann cycle overblown and too overtly expressive, though as I reported in my August ''Quarterly Retrospect'' (page 257) I rather liked the Rhenish (DG 415 358-1GH; CD 415 358-2GH, 1/86). DG already have an account of the Second Symphony from Giuseppe Sinopoli on Compact Disc and, though the classic Karajan/DG account is no longer available, LP collectors are still well provided for: Kubelik remains in currency (Contour Classics) along with Haitink's recent Philips cycle (412 852-1PH3, 1/86; CD 412 126-2PH2, 3/86) and are eminently recommendable.
Leonard Bernstein's account has all the electricity and immediacy one expects of live music-making, and as always there is ample evidence of the special rapport he has established with the Vienna Philharmonic. The first movement opens with promise of great things, even if it is prone to exaggeration: the pianissimos are so rapt and hushed that they draw disproportionate attention to themselves. Later in the development at bar 127 (and again at 138) Bernstein leans on the crotchet that begins the phrase and there are the odd agogic disruptions that detract just a little from the sense of forward movement this music must have. However, Bernstein is an artist of generous spirit and his wamrth and conviction are generally persuasive in this movement. (Incidentally, I should add that he observes the exposition repeat.) In the Scherzo he pulls certain ideas out of shape, and while one does not need to be quite so metronomic as Sinopoli, there are limits beyond which agogic freedom becomes licence. The slow movement is so heavily charged with emotion that one feels its atmosphere of serenity is endangered. There is certainly no sense of emotion recollected in tranquillity. Almost every other bar is laden with ritenutos and often seems to grind to a standstill, and I would find it difficult to live with. Furthermore, I have to say that the recording is not in the first flight: teh texture is rather opaque and needs more air round it. No doubt the presence of an audience dries out the sound and comparison with the Sinopoli recorded also with the VPO, albeit with a different DG team, reveals much greater warmth and transparency.
Mischa Maisky, a wonderful soloist in the Cello Concert, plays with great eloquence and although there are moments of self indulgence, they do not seriously detract from one's pleasure and satisfaction. Some may find that he emotes too heavily at times: the soulful throb he produces when playing in sixths (bars 303-11) in the Langsam movement is an instance in point, but generally, this is a glorious performance. Lynn Harrell's version, listed above, has the advantage of a Decca recording: on the other hand, it is less generously coupled (Saint-Saens Concerto No. 1). However, so far as the symphony is concerned, I would not recommend this new version, whether on LP or Compact Disc, in preference to the rivals listed.'
Leonard Bernstein's account has all the electricity and immediacy one expects of live music-making, and as always there is ample evidence of the special rapport he has established with the Vienna Philharmonic. The first movement opens with promise of great things, even if it is prone to exaggeration: the
Mischa Maisky, a wonderful soloist in the Cello Concert, plays with great eloquence and although there are moments of self indulgence, they do not seriously detract from one's pleasure and satisfaction. Some may find that he emotes too heavily at times: the soulful throb he produces when playing in sixths (bars 303-11) in the Langsam movement is an instance in point, but generally, this is a glorious performance. Lynn Harrell's version, listed above, has the advantage of a Decca recording: on the other hand, it is less generously coupled (Saint-Saens Concerto No. 1). However, so far as the symphony is concerned, I would not recommend this new version, whether on LP or Compact Disc, in preference to the rivals listed.'
Schumann Symphony No 2. Cello Concerto
Schumann Symphony No 2. Cello Concerto
Schumann Symphony No 2. Cello Concerto
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