Dvorak - Concerto for Cello and Orchestra - Max Bruch - Kol Nidrei - Janos Starker
Prix habituel
€35,00
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Temps moyen d'expédition : 2 à 4 jours ouvrés. L'expédition est gratuite au sein de l'Union Européenne au dessus de 99€ d'achat, sauf pour certaines destinations, et jusqu'à 50kg. Au dessus de 50kg, frais d'expédition sur demande à contact@audiosounmusic.com. Il n'y a pas de politique de retour pour les pays hors Union Européenne.
Antonín Dvorák - Concerto for Cello and Orchestra in B Minor, op. 104 & Max Bruch - Kol Nidrei, op. 47
Janos Starker (vc)
The London Symphony Orchestra
Antal Dorati, conductor
1 LP, standard sleeve
Original analog Master tape : YES
Stereo
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : Pallas
Label : Speakers Corner
Original Label : Mercury
Recording: July 1962 at Wembley Town Hall, London, by C.R. Fine and Robert Eberenz
Production: Wilma Cozart
Originally released in 1962
Reissued in 2005
Tracks :
Side A :
- Antonin Dvorak - Violoncello Concerto - Allegro
- Antonin Dvorak - Violoncello Concerto - Adagio Ma Non troppo
Side B :
- Antonin Dvorak - Violoncello Concerto - Final (Alelgro Moderato)
- Max Bruch - Kol Nidrei, Op. 47
Reviews :
The outstanding success of Speakers Corner's release of Bach’s Cello Suites performed by Janos Starker has encouraged them to follow this up with a no less important interpretation of Dvorák’s Cello Concerto by the Hungarian virtuoso. Starker tackles this concerto with amazing confidence; technical difficulties encountered by others in its performance appear unknown to him. Tonal purity, even in the dreaded upper register and the cadenzas, remains unscathed, so that one can concentrate wholly on the meditative magic of the music.
Janos Starker has found worthy fellow musicians in Antal Dorati and the London Symphony Orchestra. The conductor and soloist set a benchmark in how to work together as a team in concert in that it is less the often lamented emulation than the interpretation which stands in the foreground in this performance. Rather, the two protagonists commit themselves to a chamber-music-like reading which is distinguished by the dynamically moderate intonation of the orchestra and the slender tone of the soloist throughout.
An ever-welcome encore is found on side two with Bruch’s "Kol Nidrei", performed with verve and a good portion of romantic, melting sweetness which allows this evergreen to flourish.
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