Dvorak: Cello Concerto (SACD review)

Also, Lalo: Cello Concerto. Johannes Moser, cello; Jukub Hrusa, PKF - Prague Philharmonia. Pentatone PTC 5186 488.

The relatively young German-Canadian cellist Johannes Moser (b. 1979) had by the time of this album already recorded the cello concertos of Saint-Saens, Britten, Shostakovich, Martinu, Honegger, and Hindemith. Now, let's face it: for a cellist, the concerto repertoire is not all that large (in fact, for many years, composers sort of shunned the cello as a solo concerto instrument, with J.S. Bach, Mozart, Beethoven, Schubert, and the like pretty much ignoring it except in chamber works). So it's no wonder Moser turned next to what is probably the most-famous cello of them all, the Dvorak. With fine accompaniment from Maestro Jukub Hrusa and the PKF-Prague Philharmonia, an apt coupling of the Lalo cello concerto, and fine Pentatone SACD sonics, this package makes a welcome appearance.

Czech composer Antonin Dvorak (1841-1904) wrote his Cello Concerto in B minor, Op. 104 rather late in his career (1895), the work since becoming one of the most-popular cello concertos of all time. So popular that you'll find some excellent recordings of it by any number of artists, like those of Mstislav Rostropovich (DG), Yo-Yo Ma (Sony), Pierre Fournier (DG), Jacqueline du Pre (EMI), Leonard Rose (Sony), Gregor Piatigorsky (RCA), Lynn Harrell (RCA), Pablo Casals (EMI and Dutton Labs), Paul Tortelier (EMI), Rafael Wallfisch (Chandos), Truls Mork (EMI), Maurice Gendron (Philips or HDTT), and my own favorite, Janos Starker (Mercury), among others.

Here, we add Moser. As the Cello Concerto contains an abundance of attractive melodies, it gives Moser and company ample opportunity for displaying nuance, sensitivity, and a little sentimentality. For instance, Dvorak wrote the slow, second-movement Adagio while his much-beloved sister-in-law lay dying, and he used one of her favorite pieces of music as a central theme. In it, he creates a lovely, explosively gentle, faintly melancholic mood, which Moser exploits with appropriate passion and tenderness.

Whatever, Moser's tempos seem well within the ballpark for most other interpretations I've heard, yet his playing seems more relaxed than many others. For some listeners, this will be a good sign. For other listeners, he may appear somewhat lax, maybe too slack. Certainly, it would play up the differences in emphases and contrasts in the work if Moser had put more energy into the more vigorous sections. This isn't much of a criticism, though, as the overall impression of the work under Moser is one of big, warm, sweet, solitary contemplation, even in the more-explosive bits.

Johannes Moser
In the Finale, we get more fire and heroics from both the soloist and the orchestra than we heard previously from them. Nevertheless, even here Moser and his team seem a little reticent to let completely loose. In other words, the performance seems maybe a touch too sedate for its own good.

So, the final question is whether this recording from Moser and company is any better than the several recordings I mentioned above. The answer is, probably not. There is an ardent, honeyed glow about Moser's rendition, to be sure, that will no doubt appeal to many listeners. However, for me there wasn't quite enough there to justify the price of yet another competitor in an already crowded field of contenders.

The accompanying Cello Concerto in D minor by French composer Edouard Lalo (1823-1892) may not be as well-known as the Dvorak, but it is close, and the French work is almost as ambitious and communicative. With the Lalo, Moser's easygoing style works better than it did in the Dvorak. It's a charming and engaging interpretation, even if the orchestra's contributions appeared to me a mite too staid to do justice to Moser's amiable, stress-free manner.

Producer Job Maarse and engineers Erdo Groot and Roger de Schot recorded the music for Polyhymnia International V.V. at the Forum Karlin, Prague, Czech Republic in January 2015. They made it for playback via hybrid SACD: multichannel or two-channel from the SACD layer and two-channel only from the regular CD layer. I listened in two-channel SACD.

The sound provides a glowing, natural, very slightly soft ambience that makes everything appear fairly lifelike. You won't perhaps get an ultimate transparency here, just realistic reproduction. There is a reasonably good stereo spread, with a fine sense of depth to the orchestra. There is also a very slight bit of background noise, barely audible but present. The dynamic range seems more than adequate, although I didn't hear as much impact as I expected. The cello is slightly bigger than life, maybe recorded a little too close. Still, it, too, sounds most truthful on its own. It's a handsome production, sounding much like the Philips recordings of old, which I count a good thing.

JJP

To listen to a brief excerpt from this album, click on the forward arrow:


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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

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It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa