While preparing to write about this album, I listened once again to Kian Soltani’s chamber and concertante releases with Barenboim on Deutsche Grammophon. As on their Mozart Piano Quartet and Strauss’ Don Quixote albums, Barenboim is a big personality, while Soltani shows clever ensemble playing.
Barenboim famously recorded the Dvořák Cello Concerto with Jacqueline du Pré and he brings this experience to the present recording. Listening to other well-regarded versions may tell the tale; du Pré, Mischa Maisky and Alisa Weilerstein are formidable musical personalities, and in their interpretations, the spotlight is most definitely on the soloist, whereas Rostropovich and Karajan are more equal in their recording. In their present release, Soltani and Barenboim find something of a middle ground.
In the booklet, Soltani comments affectionately about the collaboration with Barenboim in this concerto and he provides insight into the interpretation. Soltani is controlled and restrained, blending gently into the large symphonic sound, taking his lead from Barenboim throughout. Barenboim’s familiarity with the work is obvious in the shaping and balancing of the orchestra, knowing where to give and take liberties with the rubato. Although these are well-judged, the opening of the concerto lacks motion before picking-up pace. Weilerstein has greater freedom in the opening solo flourish — marked ‘quasi improvisando’, than Soltani, who is slightly reticent. He adheres to the markings, but at times is too subtly, so that strong contrasts in the articulation are lost.
Soltani’s phrases are consistently longer, with more muted peaks, most obviously in the central movement. Barenboim and du Pré give one of the broadest second movements, with an intense but controlled work by the soloist. There are echoes of this in this new interpretation, but with less of an emotional charge. The end of the movement in particular is exceptionally well-handled, especially touching when Soltani is accompanied by the woodwind and brass and when playing high notes. The pacing of the third movement has parallels with du Pré, but Soltani is more restrained and delicate in the way he applies rubato.
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- Review: “Bohemian Tales” – Augustin Hadelich, Violin
- Review: Elgar – Cello Concerto – Sheku Kanneh-Mason, Rattle
- Review: Dvořák – Requiem, Te Deum, Biblical Songs – Hrůša, Bělohlávek
Personal preferences vary for a first choice. Historically, Rostropovich with Karajan is a finely executed and commendable recording. For a contemporary choice, the chemistry between Weilerstein and Bělohlávek is formidable, intensely dramatic and spontaneous. Bělohlávek also brings a greater excitement to the orchestral playing. The significantly brisker tempi emphasize the dance rhythms and song-like melodies, and Weilerstein’s commanding presence makes for a thrilling experience. Soltani, on the other hand, finds something more introspective and subdued.
Completing the album are five miscellaneous arrangements of pieces by Dvorák, played by Soltani and the cellists of the Staatskapelle Berlin. These are beautifully played and the chemistry between the players is apparent, especially the final item, “From The Bohemian Forest.” The cellos are richly comforting and colorful with heady vibratos, but the lack of textural contrast makes the collection sound disappointingly homogenous. The famous second movement of the Ninth Symphony is also included here. The cor anglais melody, taken by Soltani, is played with gentle emotion, but the phrasing is not as natural as one would hope for. The arrangement of “Gypsy Melodies” Op. 55 from “The Songs My Mother Taught Me” is the most convincing of the selection.
With repeated plays, Soltani and Barenboim grow on you, the subtleties become apparent and much more appreciable. The recording, made at Berlin’s Philharmonie, has a wide panorama, befitting the symphonic grandeur of the music and the exceptional orchestral playing.
Dvořák – Cello Concerto; works arranged for cello solo and cello ensemble
Kian Soltani
Staatskapelle Berlin
Daniel Barenboim – Conductor
Deutsche Grammophon, CD 00028948360901
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