Antonin Dvorak Camille SaintSaens Carlo Maria Giulini - Dvorak SaintSaens Cello Concertos (6 tracks) +Album Reviews

Unbelievable Performance

L. Ku | New York | 07/11/2004

(5 out of 5 stars)

"Dvorak's Cello Concerto is one of the most deeply monumental, moving works ever written. Giulini's stirring leadership really reaches deep into the score and brings out its powerful meaning. Also, Rostropovich, the 'master cellist', of course gives you nothing less of a magnificent performance.Again, I can not express how towering a piece of work the Dvorak is, and how successfully Giulini's London Philharmonic is in performing it. The charming lyrical melodies loom over the tremendously powerful opening movement. The second movement is deeply felt, with its sudden outburst of emotion 3+ minutes in, immediately followed by a romantic melody giving tribute to Dvorak's much loved sister-in-law in ailing health. The 3rd movement, also very moving, uses a triangle and solo violin to create even more emotional effects, with more nostalgic moments for the sister-in-law, who has now died.The Saint-Saens is a personal favorite of Slava. A fine masterpiece to create a great coupling with the Dvorak.This disc is a moment of musical history. Highly reccomended. Of course, you should also eventually own Slava's other recordings as well, and don't forget to look into Jacqueline de Pre either."

A too-often overlooked gem

gcappelli | Oxford, England | 12/01/2003

(5 out of 5 stars)

"Long overshadowed by the much more famous 1969 Karajan/ Rostropovich recording on DG, this recording is undergoing a bit of a rediscovery (probably because of its recent release on the "Greatest Recordings of the Century" label). But no matter what the reason, its growing acclaim is well deserved. Some have commented that the first movement of the Dvorak is marginally slower than the Karajan recording, and this reduces its dramatic impact. But while this is perhaps true, this approach instead highlights its lyrical qualities. Giulini is much more successful than Karajan in bringing out Dvorak's folk music influence. Giulini is best known as an opera conductor, and I'm sure his experience with singing allowed him to better express the concerto's lyricism. The result is a very moving interpretation, one which I think has a much better blend of drama and lyricism than does Karajan's recording.Secondly, Rostropovich's playing is impeccable. In fact, I think I like him better here than in the Karajan recording. His tone and pitch are suburb, like they are in nearly all his recordings. But the extra space Giulini gives him by slowing down the tempi allows Rostropovich to explore the music a bit more, adding his own unique interpretations to the concertos, often with riveting results. The middle of the third movement of the Dvorak is a case in point. Rostropovich's playing is simply so musical, so fantastically beautiful that one cannot but marvel.In short, this recording deserves every ounce of praise now being bestowed upon it. It is a great buy for anyone who likes Dvorak, Giulini, Rostropovich or cello music in general. I would strongly recommend that you buy both this recording and Karajan's, so that you can hear two very different interpretations, and see how each emphasizes a different aspect of the music. Both are wonderful, and the subordinate position this recording has endured is unjustifiable."

Underrated Great Performance of the Dvorak Cello Concerto

John Kwok | New York, NY USA | 11/29/2002

(5 out of 5 stars)

""Slava" Rostropovich has recorded the Dvorak Cello Concerto at least four times; his most memorable recordings are those with Karajan and the Berlin Philharmonic on Deutsche Grammophon and Ozawa and the Boston Symphony on Erato. However, this recent EMI reissue may be his best performance yet, since it is blessed with an unusually passionate, lyrical performance by the London Philharmonic under Carlo Maria Giulini's baton. Giulini is far more successful than either Karajan or Ozawa in probing the lyricism present in Dvorak's score. Both he and the London Philharmonic are splendid accompanists too with Rostropovich in a dazzling version of Saint-Saens 1st Cello Concerto. If you own either the Karajan or Ozawa versions, you should definitely acquire this fine performance too."

One of the better Slava recordings, but not the best

L. Johan Modée | Earth | 05/28/2007

(4 out of 5 stars)

"On this recording, Rostropovich and Giulini form a fine match: Slava's brilliant and sensitive playing, and Giulini's lyrical and passionate conducting... well, this performance will move you to tears and cause goose bumps all over your body. Just listen to the wonderful passage just before the finale explodes into its glorious ending: you will seldom hear such a delicate transmission, with a perfect balance between soloist and orchestra - they fit like hand in glove. And this is only one example.

The recording quality is also excellent (analogue stereo, from 1978 - very fine CD transfer), and so is the orchestral playing (London Philharmonic Orchestra in top form).

Now there is a bunch of other recordings with Slava and the Dvorák concerto. For example, we have three other stereo recordings, one with von Karajan (DG); one with Ozawa (Erato); and an early one with Boult (Testament). Further, there are four mono recordings, with Khaikin (Revelation/Yedang); with Talich (Supraphon) which was Slava's first recording of this concerto; the famous 1968 concert with Svetlanov (BBC Legends, live) and, finally, with Ancerl in Toronto (Tahra, live).

How does the present recording stand in comparison with these other recordings? In the von Karajan case, cellist and conductor are worlds apart, but both sound and playing are fine. Ozawa's interpretation is not entirely convincing, lacking in Bohemian temperament, but the recording and playing are fine here too. Boult, finally, has vintage stereo sound but in terms of interpretational quality it is second to none. Khaikin and Talich are both of great interest. But in my view, Slava's first recording with Talich holds a special place, because it simply outstanding in all respects: playing and interpretation are first class. Yes, it is a mono recording, but that's fine with me. Khaikin's recording is very fine too, even if the interpretation is a bit less convincing than Talich's, partly due to the eccentric Soviet playing style in the late fifties. Svetlanov's live recording is also a memorable moment, and so is Ancerl's 1972 Toronto broadcast - which boasts two outstanding artists in exile. Slava's playing is excellent in both, but the orchestral execution is not entirely spotless. Nonetheless, the two orchestras give their very best.

In sum, then, I rank the eight Slava-Dvorák recordings as follows: I. Boult (because of the better sound), 2. Talich, 3. Ancerl, 4. Svetlanov, 5. Khaikin, 6. Giulini, 7. Ozawa, 8. Karajan.

Thus this is one of the best Slava STEREO recordings of the Dvorák concerto, second to Slava/Boult, which is my prime recommendation. But check Talich if you look for an equally arresting Slava interpretation with - perhaps - ideal accompaniment. Moreover, if sound is not an important issue, Slava's mono recordings with Ancerl, Svetlanov and Khaikin are all better than Slava/Giulini. And then there are of course other great cellists to consider: Fournier (DG), and Casals/Szell (Naxos, EMI, Dutton). My advice is that you should have at least one of these too."

The best recording of Dvorak/Saint-saens concertos

F. Soares | Campbellsville, KY United States | 06/13/2002

(5 out of 5 stars)

"Rostropovich is surely one of the best celists of all times and on this recording he proves that. His pitch is perfect, he has a very powerful and clean sound and his musical ideas are just wonderful. I call a special attention for the middle and final parts of the first movement of the Dvorak Concerto as well as the middle part of the third movement and the duet with the first violin. Also in the Saint-saens Concerto he gives a wonderful performance and I call a special attention to the third movement, surely better than any other cellist I've heard."

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