Dvorak’s is probably the most-played and most-recorded cello concerto in the repertory. There is no shortage of competing versions on CD, including Casals, Ma, Rostropovich, Fournier, Starker and Piatigorsky – with the latter two also on three-channel SACDs. However, this is a glorious performance without undue emotional excesses, with wonderful cello tone, and balanced naturally with the orchestra. Many concerto recordings are mixed to put the solo instrument in your face with a proximity you would only get if you were in the center of the first row. In addition, the Budapest Orchestra is a first-rate group and very well recorded with an enveloping but not overwhelming surround field.
Dvorak had been asked more than once to write a cello concerto, but he refused, saying that while a fine orchestral instrument it was insufficient for a solo concerto. However, while he was director of the National Conservatory in New York, he wrote this three-movement concerto with a full romantic orchestra. It is distinguished by some of the composer’s loveliest melodies, but one can get most antsy waiting for the initial entrance of the cello – the orchestral introduction for the first movement goes on forever. The solo part is very challenging, and not once are we convinced that Dvorak was correct about the cello not being a good solo instrument for a concerto.
The Symphonic Variations were supposedly written as a challenge Dvorak was set by a colleague who dared him to write a set of variations on a simple Czech folk song. He succeeded wildly, coming up with 27 separate (though flowing into one another) variations – all but one of them running under a minute. Both performances were recorded one year ago in Budapest’s Palace of Arts during a live concert.
– John Sunier
