Haydn: Cello Concerto No.1 in C major / Saint-Saëns: Cello Concerto No.1 in A minor / Elgar: Cello Concerto in E minor 海顿：C大调第一大提琴协奏曲 / 圣桑：a小调第一大提琴协奏曲 / 埃尔加：e小调大提琴协奏曲
- 艺人
- Mstislav Rostropovich
- 语种
- 其他
- 厂牌
- BBC Legends
- 发行时间
- 2006年10月02日
- 专辑类别
- 现场专辑
专辑介绍
This is a must-have CD, not because the performances of the works it contains are by any means definitive—assuredly they are not—but because it is a of a great cellist and musical ambassador to the West who, at the time of these recordings, was a still quite young 38, with important US and UK debuts already well behind him, and in growing demand on the world’s concert platforms.
According to the dates given in the head note, these recordings were taken from three separate appearances Rostropovich made at London’s Royal Festival Hall under Gennadi Rozhdestvensky over the course of a single week in July 1965. The first, on July 1, gives us the cellist’s and conductor’s take on Haydn’s C-Major Cello Concerto (not the later, more famous D-Major masterpiece). It is one of the most laughable affairs I’ve ever heard. From the way they tear into it, you’d think London was still under the blitz, and everyone had mere minutes to reach the bomb shelters. Treated in the way it is here by R&R, Haydn’s tuneful, if slender, concerto becomes both vehicle for and victim to an utterly ludicrous and histrionic virtuoso display. The same can be said of the Saint-Saëns concerto, its last movement tossed off as if it were Rimsky-Korsakov’s Flight of the Bumblebee . Rostropovich’s technique is truly awesome, but his musical judgment, at this stage of his career, still had much maturing to do.
That brings us to the Elgar, which, in my opinion, stands head and shoulders above the Dvo?ák as the greatest of all cello concertos. I know there are those reading this for whom Jacqueline Du Pré reigns supreme in this score, and they are entitled to their opinion. Not being a Du Pré fan myself, it’s an opinion I don’t share. But I will say this: I would take any of Du Pré’s recordings of the Elgar any day of the week over this travesty by Rostropovich and Rozhdestvensky. They manage to dispatch the piece in just over 26 minutes. I can’t tell you if that’s a record or not, but every other performance I’m familiar with—and that includes Yo-Yo Ma, Starker, Maisky, Isserlis, Robert Cohen, and Lynn Harrell—comes in at somewhere between 28 and 29 minutes. To this list, I need to add a new and quite recently acquired recording by Daniel Müller-Schott with André Previn and the Oslo Philharmonic on Orfeo. Previn has always had a special affinity for Elgar, and Schott’s playing is of a transcendental beauty that transported me to a place of indescribable inner peace and calm. There is such internalized suffering, quiet grief, and inconsolable sorrow in this piece; to race through it the way R&R do, as if it were a lighthearted caprice, is really unconscionable.
So, how can I recommend this release? It’s simple. I may hate the sin, but I love the sinner. This is cello-playing that is not to be missed. Listen to it for that alone, and accept that it has nothing to do with the music.
FANFARE: Jerry Dubins
最新简评（共11条）
- @未知生物：
- @独风冷雨(阳光淌过手心天空笑了笑！)：喜欢~_~
- @香山秋雨70550：海顿，圣桑，埃尔加《大提琴协奏曲集》
- @lorio(心沉下来的感觉真好)：好听的要命
- @jssj1969：好听！！！经典！！！
- @倒影：经典。
- @toyyan(咸盐瓶)：hh
- @破雷：罗斯托罗波维奇
- @到里斯本看海(听啥都觉得好听)：老罗这版现场录音的haydn和圣桑都不错，elgar听起来倒是一般。
- @freecoco(音乐净化灵魂)：fine