Review: Tchaikovsky – Variations, Dvořák – Cello Concerto – John-Henry Crawford

For these two well-established works, Cellist John-Henry Crawford is joined by an orchestra that is far from a stranger to Tchaikovsky, the San Francisco Ballet Orchestra, under their Music Director and Principal Conductor, Martin West. After few solo and chamber releases for Orchid, this is Crawford’s first recording with an orchestra.

Tchaikovsky’s Variations on a Rococo Theme is beautifully played, the orchestra’s introduction playfully answered by Crawford’s sweetly lyrical presentation of the theme. Each variation is well characterized, and tempos feel just right, with a natural flow between each section. The third variation evokes tender nostalgia, particularly in the dialogue between woodwinds and cello towards the end. 

This album was recorded at George Lucas’s Skywalker Sound in California, a venue that was used to record and edit many movie soundtracks. Unfortunately, I have issues with the engineered sound; While it is truthful and clear, there is little front-to-back perspective, and close microphone placement dampens the effectiveness of the dynamic variety. 

Crawford is impassioned in the fifth variation, and wistful in the sixth, leading to an energetic final variation. But his decision to record the standard Fitzenhagen version is disappointing. Fitzenhagen premiered the work with substantial cuts (including the removal of an entire variation) and reordered material. Tchaikovsky disliked these changes – nevertheless, he allowed Fitzenhagen’s version to be published. Yet several cellists have recorded Tchaikovsky’s original version, which is far more satisfying. Peter Wispelwey recorded the Fitzenhagen version in 2001 (Channel Classics), and in 2015 Tchaikovsky’s original (Evil Penguin): both readings are more imaginative and better recorded. Steven Isserlis’ recording (also using the original version) is particularly Romantic, the orchestral accompaniment more thoughtfully attended to by John Eliot Gardiner and the Chamber Orchestra of Europe (Erato). 

The Dvořák is less satisfying, in part because West’s conducting, while ensuring fully accurate playing, only intermittently matches Crawford’s inspired playing. Sample the opening of the first movement: everything is in its place, with nicely shaped horn and clarinet solos, but there is too little atmosphere. Turn to Mackerras with the LSO accompanying Raphael Wallfisch (Chandos) or a live recording of Fischer and the Budapest Festival Orchestra with Wispelwey (Channel Classics) and the atmosphere is far more potent. 

Crawford masters every technical challenge, with impressive bow control. He offers crips articulation in faster passages and soulful lyricism in slower ones. Yet his softest playing is consistently compromised by the close miking and the two-dimensional soundstage. And while his playing often increases the overall emotional temperature, West often lets energy sag when the orchestra is on its own. 

There are moments, particularly in the first movement starting around 9’19”, where the music delves into deeper emotions of regret and longing. Here, Crawford’s interpretation could benefit from a slightly more nuanced approach. While the second movement is more emotionally engaging, the flattened sound and middle-of-the-road accompaniment lessen its impact. 

Perhaps some would argue that I miss Crawford’s subtly because I prefer the more overtly emotional approach of Wispelwey and Fischer, or Alisa Weilerstein with the Czech Philharmonic Orchestra under Jiří Bělohlávek (Decca). But I find Wallfisch’s approach less heart on sleeve, and Christian Poltéra (accompanied by Thomas Dausgaard and the DSO Berlin on BIS) more emotionally introverted, yet both readings draw me in more fully.

As of publishing this review, the digital download does not include liner notes, though they are available on the label’s website. And a sixty-minute program is too short, especially if one is purchasing the physical CD – there is plenty of room for additional shorter works for cello and orchestra by both composers. Despite some excellent playing from Crawford, listeners familiar with these works might find themselves drawn to more established reference recordings.

Recommended Comparisons

Tchaikovsky: Wispelwey | Isserlis
Dvořák: Wallfisch | Wispelwey | Weilerstein | Poltéra (digital)

Tchaikovsky – Variations on a Rococo Theme
Dvořák – Cello Concerto
John-Henry Crawford – Cello
San Francisco Ballet Orchestra
Martin West – Conductor

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