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Dvorák : Cello Concerto & Tchaikovsky : Rococo Variations - Elatus
 
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Dvorák : Cello Concerto & Tchaikovsky : Rococo Variations - Elatus

11 février 2008 | Format : MP3

EUR 8,99 (TVA incluse le cas échéant)
Également disponible en format CD

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Amazon.com: HASH(0x8f34b648) étoiles sur 5 1 commentaire
13 internautes sur 14 ont trouvé ce commentaire utile 
HASH(0x8f34f9a8) étoiles sur 5 Five stars isn't enough 25 octobre 2007
Par T. Mayhew - Publié sur Amazon.com
Format: CD Achat vérifié
It just doesn't get any better. Dvorak is the best composer, this his greatest work (standing alongside, if not above, the 9th symphony, and the American string quartet), and the partnership of Ozawa and Rostropovich the finest reading this work has ever received on record. The Boston Symphony is top class, weaving a harmonic thread through the entire concerto that matches Rostropovich well. Rostropovich with the Berliner Phil is musically excellent, but the recording quality is digitally remastered, not quite as true as this original digital version. Also Ozawa and the BSO favor a more minimalist, controlled interpretation which both more musically satisfying and more revealing of the talent and vision of Rostropovich himself.
As far as the music itself, there are so many different interpretations of the Dvorak (Du Pre, 2nd best w/ Sergiu Celibidache, Mork, Piatigorsky). It is a symphony for orchestra and cello, and each movement contains so many different moods, tempos, and rhythms that it requires a huge diversity of musical expression, where Rostropovich is peerless. He always makes a big heavy sound, though his phrasing and expression produce a lullaby-like effect in the adagio, and the finale is jubilant, powerful and precise.
Now for the recording quality. Perhaps due to his big sound, Rostropovich creates exceptional balance with the orchestra. In the remastered version w/ Karajan the the Berliner Phil, the digital editing removes Rostropovich from the spere of the orchestra somewhat, makes him more glossy. Not so with this one. Rostropovich pops right out of the orchestra, and then seamlessly blends back in. The balance is subtle and satisfying.
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