Dvorák: Cello Concerto, Op. 104

This is a supreme classic of the gramophone catalogue. It is a glorious disc, representing Rostropovich at his peak. The Berlin Philharmonic and Karajan are on top form as well. From the rapt opening of the Dvorak concerto, Karajan and his band create the most wonderful atmosphere for the soloist to play in. Dvorak's Cello concerto is one of the greatest, if not the greatest, work for the cello in the concerto repertoire. Rostropvich's magnificently full tone is perfect for this work. There is hardly anything you could criticise about the disc. The Dvorak is full of passion, fire, lyricism you could wish for, but Rostropvich doesn't pull out all the stops. He keeps certain degrees of fire in reserve for the really big moments. The dialog between the soloist and orchstra are unmatched in its chamber-like quality. It's a give-and-take performance, and what a performance! This particular recording of the Rococo Variations is unsurpassed. It has so much wit, panache, elegance, and the addition of Karajan being a master Tchaikovskian helps enormously. The playing matches the beauty and elegance and the Rustic charm of this piece fully with the soloist. This piece is pretty difficult to play, as there are many technical difficulties which surround the soloist, but Rostropovich, with his rich palette of tone colours, make the piece sound easy, very easy. My favouite in the Variations has to be the Finale, where Rostropovich finally pulls out all his powers and lets rip. The way he 'talks' with the orchestra is unmatched in its imaginativeness. All the parties involved really give the impression that they are really having fun, which in turn gives the listener the same impression. A most joyful way to end a glorious disc. I realise that I have been pretty indulgent with my use of superlatives, but I am lost for words, really. It really is a great disc, whose reputation is for once not exaggerated. If you don't have this CD right now, you should get a copy immediately.--P. Rah "Prahcello" Listen to samples

Favourite Cello Concertos

During her far-too-brief career, cellist Jacqueline du Pré exhibited an almost oracular power of communication. Her performances bristled with the kind of brilliant electricity that could change lives and convert listeners to a lifelong love of music. Happily, it's possible to experience a sense of that power from the recordings du Pré completed before multiple sclerosis halted her career as a performer in the early 1970s. This set provides a splendid portrait--at bargain price--of du Pré's unmistakable personality: the astonishingly original yet convincing phrasing, raw energy, and ability to make her instrument sound uncannily like a human voice (du Pré was after all a favored student of Mstislav Rostropovich). Her rendition of Haydn's Concerto in C is clearly cast in a romantic--and nowadays perhaps unfashionable--mold, yet du Pré's big, bold tone carries the musical line forward with exhilarating presence. It's a demeanor that proves especially reassuring for the quirkily mercurial inventions of Boccherini. Yet du Pré most indelibly leaves her signature on the work that became her hallmark, Edward Elgar's E Minor Concerto, grafting a deeply personal level of expression onto the score's rich post-World War I melancholy. In the Schumann, du Pré makes an eloquently passionate protagonist. A similar sense of excitement is to be heard in Dvorák's Concerto--performed near the end of her career--above all in the flame of inspiration she evidently sparks from the orchestra in the serene close of its slow movement. This is a supremely rewarding collection for the beginner and aficionado alike. --Thomas May Listen to samples

Cello Concerto in B minor Opus 104

Antonin Dvorak (1841-1904)



The World famous Czech composer was born in the outskist of Prague into the music Coving family of village butcher. He was as customary educated by the church organist and lead the village Brassband. His numorous Slavonik Dances were very popular not only in Czechoscovak but also throughout Europe and America. He became Professor & Director of the Czech National Conservatory. Cambridge Universary conferred the rare Mus. D. on him before be sailed across the Atlantic to direct the American National Academy of Music 1893-1895. He composed the world master works “New World” Symphony and the F major op. 96 String Quartet. White Theoi he met Victor Herbert the American cellist compose who urged Dvorak to write a cello Concerto.

Dvorak Cello concerto begin with the long Tutti introduction. The cello repeated the Subject and lead to the 2^nd theme in the usual “Sonata Form” with the long cadenza before ending.

2^nd movement is as lovely as the Adagio in the “New World” Symphony. Clarinets was he employed in place of Cadenza. The final 2^nd movement.

Overture to the Opera “Ruslan e Lyndmila”

Alexandre Pushkin (1798-1837)

Alexandre Pushkin (1798-1873) the famous Russian poet immortalized the legendary Tales “Ruslan Lyudmilla” Knight Ruslan was one of several suitors to Lyndmillas Hand. The disappeared into the mist during a severe thunder storm Ruslan sought the help of the wizard Finn and the hunchback Chernomor. He had to fight the Spirits of the forest and found the magic spear, which he lifted. The mist cleared and he found “Lyndmilla” and brought her back to Kiev safely. Chernomor in disguise as a giant arrived first and killed, the people of Kiev. Ruslan fought Chernomor and Killed the giant with magic spear. The Prince of Kiev then gave consent of the marriage. The overture market presto in D major is appropriately lively and as fresh as “Ruslan” The brave Knight.

In A Monastery Garden: The Immortal Works Of Ketelbey

Ketelbey's often distinctively evocative, exotic sounding works made him one of the most beloved composers in England during his lifetime. He was also among the first to compose background music for silent films- practically inventing, if not fully realizing the potential of the genre. Whether it's with the lush pastoral melody set with actual bird calls in one of Ketelbey's most famous works "In a Monastery Garden" or the highly chromatic broad orchestral gestures of "Sanctuary of the Heart" all here succeed famously in bringing back to life the unique musical charm of a bygone era. Decca's 'Phase 4 Stereo' sound is also exceptionally good.--Listen to samples

Ketelbey: In a Persian Market

I was introduced to Ketelbey's work by the late Guillermo Figueroa of the famous Figueroa Family group from Puerto Rico. In the few couple of years I worked assisting him, then the conductor for a Youth Chamber Music Orchestra, Don Guillermo helped me rediscover good classical and contemporary music, and introduced me to some great works like the one in review. The recordings are old school but the music is haunting, timeless and beautiful. I highly recommend this cd, and like Don Guillermo told me about 10 years ago: "Give it a chance, you don't have to be a great musician to appreciate great music" How right was He! --I Colon "Fonzo" Listen to samples

ALBERT WILLIAM KETTLEBEY: IN THE PERSIAN MARKET

Albert William Kettlebey



In a Persian Market was composed by an English composer, Albert William Kettlebey who was born in 1880 and studied music at Trinity College of Music in London.

His imagination on the oriental atmospheric scene was clearly described in this master piece.

This piece begins with a theme, very soft and gradually getting louder, describes about a market place in Persia, in which people and camel caravan are entering, including those beggars lamenting. Another sweet theme signifies the scene of a princess amid her servants passing through the market, while jugglers are playing tricks and a snake charmer blowing his pipe in accompanying the dancing snake. The sweet theme is heard again as the princess and the caravan are leaving the place. The music is gradually fading away and finally the noisy market scene becomes the empty and isolated place.