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Home > Classical Music > Featured Composers, A-Z > ( C ) > DvorA k Cello Concerto Tchaikovsky Karajan Rostropovich
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Dvorák: Cello Concerto; Tchaikovsky / Karajan, Rostropovich, | |||||
 
| 80% Recommended by our customers. Label: Deutsche Grammophon Catalog: Music Release date: 1996-01-23 Media: Audio CD discs number: 1 Ean: 0028944741322 Upc: 028944741322  Tip: compare prices with similar classical music CDs |
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Availability: in 24 hours Current discount:8% off |
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| Album tracks: (12) |
 Concerto For Cello And Orchestra In B Minor, Op. 104: 1. Allegro Concerto For Cello And Orchestra In B Minor, Op. 104: 2. Adagio ma non troppo Concerto For Cello And Orchestra In B Minor, Op. 104: 3. Finale: Allegro moderato Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Moderato quasi Andante | Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Tema. Moderato semplice Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione I. Tempo del Tema Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione II. Tempo del Tema Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione III. Andante sostenuto | Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione IV. Andante grazioso Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione V. Allegro moderato Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione VI. Andante Variations On A Rococo Theme For Cello And Orchestra, Op. 33: Variazione VII. Allegro vivo |
| Professional Review: |
| Mstislav Rostropovich is the world's greatest cellist, and he has actually made at least five recordings of this greatest of all cello concertos. I have a certain preference for his later version, with Seiji Ozawa and the Boston Symphony Orchestra on Erato. This version has long been a prime recommendation, and in this new remastering at mid-price, it's an even better deal now. Herbert von Karajan accompanies with his usual expertise, and the Tchaikovsky performance is quite simply the finest around. This concerto is one of those pieces of which you'll want to have five or six copies. Just make sure this is one of them. --David Hurwitz |
| User Reviews: |
 Written on May 12, 2007 Summary: Dvorak: Cello Concerto / Rostropovich No one has ever matched Rostropovich's rendition of the Dvorak Cello Concerto. It is an immense treasure in the cello literature. Naturally, the Berlin Philharmonic Orchestra under Karajan completes this outstanding recording. Written on May 1, 2007 Summary: Rostropovich's legacy made through this recording Along with the old mono recording of the Shostakovich Concerto No. 1 released in 1959 shortly after the concerto was written, this recording of the Dvorak Cello Concerto, released in 1969, is what essentially created the Rostropovich legend. It was only one of two cello concerto recordings to make Gramophone magaziens reader list of top 100 recordings of the 20th century. In that regard, it was the only recording I voted for in the Gramophone poll that was represented in the top 100 recordings of the 20th century (the top recording was Solti's Ring followed by Elgar's cello concerto from DuPre, something only a Brit would think of as one of the two best recordings of the 20th century.) Both conductor (Karajan) and soloist were reaching the peak of their existence after this legendary recording arrived. Having heard the soloists on a number of poorly recorded Soviet LPs of the St. Saens, Dvorak and other concerti (Rostropovich disdained the Elgar), this recording, which was one of the most technically advanced of its era, showed everyone why this cellist was an artist to reckon. What Rostropovich and DG engineers exposed in 1969 (when DG was still called DGG) was his stupendous technique and the volume of sound he could create using only the solo instrument. Yes, miking and recordings technology had something to do with this, but anyone that knew Rostropovich or heard him play in concert would attest that his sound was bigger than anyone else's. A cellist once explained to me that this was probably the result of the strings he chose, which would have the greatest alteration on sound. Needless to say, that sound still bursts forth in this recording, which will soon pass onto its fourth decade. For years it was universally selected as the top recommendation in this repertoire above players like Gendron, Fournier, Piatagorsky, Rose, Tortelier and even the more legendary Casals. No one had ever heard a sound like this cellist made, which was even more enhanced by his elegaic playing in the Tchaikovsky variations that accompany the concerto. Karajan, too, was still in ascension in the 1960s. His position in Europe was similar to Leonard Bernstein's role in North America, where the two kingpins regularly jet setted around the world to enterain audiences in London, Vienna, New York and Berlin. This is clearly one of the greatest recordings ever made and nothing that has happened since will diminish that. If you want to hear what made Rostropovish famous worldwide, buy this recording.  Written on March 1, 2007 Summary: Not the best version of the Dvorák concerto with Slava Review of the Dvorák concerto only. This could have been the one of the best recordings of Dvorak's cello concerto available, if the conductor had been replaced. Despite his reputation, Karajan is - as too often is the case - the wrong man for conducting a demanding, powerful, lyrical masterpiece. The orchestra is excellent and Slava's concentrated and beautiful playing is of course impeccable - five stars and beyond for that - but Karajan's clinical "Blitzkrieg" approach prevents the lyrical humanism of this music to blossom. Perhaps the man never could stop thinking about how to eventually realize his seriously distorted ideological convictions - and thus he could never become really involved in the true humanism of music. In fact, comparing this version with Slava's other stereo recordings (i.e., with Boult, Giulini, and Ozawa) of this work suggests that the cellist could not really develop his deep understanding during these sessions. Karajan's streamlined, bandwagon view of music and Slava's lyrical humanism seem to belong to different worlds. Now, as already indicated, there is a bunch of other recordings with Slava and the Dvorák concerto. We have three other stereo recordings, one with Boult (Testament), one with Giulini (EMI) and one with Ozawa (Erato). Furter, there are four mono recordings: with Khaikin (Revelation or Yedang); with Talich (Supraphon), which was Slava's first recording of the concerto. Finally, there is the famous 1968 concert with Svetlanov (BBC Legends) and a broadcats concerto with Ancerl in Toronto (Tahra). How does the present recording stand in comparison with these other recordings? The performance with Carlo Maria Giulini and London Philharmonic Orchestra (EMI) is good but not great, but the recording quality is outstanding. Ozawa's interpretation (Erato), which came even later, also in stereo, is not entirely convincing, lacking in Bohemian temperament, but the recording and playing are fine here too. Finally, the early Boult (Testament) is an excellent, warm, and structured interpretation, but in vintage stereo sound. But it should not be left out for that reason. We get a different perspective from Boult, less "passionate" and more structured, so to speak. In fact, I hold the Boult recording to be the best of all Slava's performances, stereo or mono. In contrast to the present account, where the stiff and stylish accompaniment don't fit the cellist's vision, that powerful performance will move you to tears and blow your mind. But the studio mono recordings with Khaikin and Talich are also both of great interest. But in my view, Slava's first recording with Talich holds a special place, because both playing and interpretation are first class. The interpretation is far more controlled than Giulini's more lyrical approach, and avoids von Karajan's extremes. Yes, it is a mono recording, but that's fine with me. Khaikin's recording is very fine too, even if it is not as convincing as Talich's. Finally, the two live mono recordings - Svetlanov and Ancerl - are also very memorable. But of these two, I rank Ancerl before Svetlanov, because of the former's superb grasp of the score. In sum, I rank the Slava-Dvorák recordings, that I am familiar with, as follows: I. Boult, 2. Talich, 3. Ancerl, 4. Svetlanov, 5. Khaikin, 6. Giulini, 7. Ozawa, 9. Karajan. In sum, this recording doesn't replace Boult's, which offers a more tautly structured approach, not as "overblown" as von Karajan's, Giulini's, and Ozawa's. But check Slava/Talich and Slava/Ancerl if you look for two other great Slava interpretations. And then there are of course other great cellists to consider, in both stereo and in mono: Fournier (DG, stereo), and Casals (Naxos, EMI, Dutton - mono). My advice is that you should have at least one of these too. (Karajan's fanatical admirers will not appreciate this review. But my advice to you is to try other recordings - there is a world beyond von Karajan.) Written on December 5, 2006 Summary: Amazingly beautiful music This is a lovely piece of music. Really. You listen to this, and it's like, WOW. That's just beautiful. Because it really is. The cello part is nice and pretty, and like almost all Dvorak, it's exciting and bold. Dvorak has a very distinct style, and quite frankly, he's extremely talented. His music, including this, is wonderful. It starts out sort of quieter, and then you get slammed with something that just takes your breath away. How often can you actually say that about music? The thing is, I like this piece of music. I like the sound. It's things like these that make me adore Dvorak, because there's just so much feeling and intensity. There's a sort of quality that just makes me love it. And I'm sure you'll love it too, is the thing. So getting the general music out of the way, the playing here is also incredible. The sound quality is surprisingly good and the music sounds great. Every sudden burst of volume is powerful and pretty at the same time. Rostropovich plays really well and everything is just so nice. The Tchaikovsky is also very nice. It's a nice little bonus alongside the main gem that is the cello concerto. With this wonderful recording and playing, the price shouldn't even matter, though I guess that it only helps that this is surprisingly cheap. It's a superb deal that I recommend whole-heartedly. It's a great CD that can be listened to at any time. Buy it! Written on August 8, 2006 Summary: high-end audio equipment may be required This is a beautiful recording, but I cannot listen to it on my stereo unless I constantly adjust the volume, up for the cello, down for the full orchestra. If I leave the volume at a level where the full orchestra will not be too loud, then I miss everything that makes this recording really special. But if I leave the volume where I can hear the cello clearly, then the full orchestra is painfully loud. Just be aware, if you are not an audiophile, this CD may not be right for you. |
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| Our price | $10.99 | $10.99 | $11.98 | $22.97 | $10.99 | $16.98 |
| List price | $11.98 | $11.98 | $11.98 | $32.98 | $11.98 | $16.98 |
| Lowest used price | $6.49 | $7.65 | $5.66 | $14.00 | $6.99 | $8.90 |
| Lowest new price | $7.42 | $7.36 | $7.41 | $18.47 | $6.89 | $10.97 |
| Collectible price | - | - | $11.98 | $40.00 | - | $16.98 |
| Catalog | Music | Music | Music | Music | Music | Music |
| Release date | 1996-01-23 | 1999-03-09 | 1996-01-23 | 1995-06-13 | 1998-06-16 | 1990-10-25 |
| Media | Audio CD | Audio CD | Audio CD | Audio CD | Audio CD | Audio CD |
| discs number | 1 | 1 | 1 | 2 | 1 | 1 |
| Format | - | Original recording reissued, Original recording remastered | - | - | Original recording remastered | - |
| Ean | 0028944741322 | 0724356695429 | 0028944740028 | 0724355536327 | 0074646332726 | 0028941051028 |
| Upc | 028944741322 | 724356695429 | 028944740028 | 724355536327 | 074646332726 | 028941051028 |
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