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Dvorak: Cello Concerto


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Product details

  • Audio CD
  • Number of Discs: 1
  • Label: Deutsche Grammophon
  • ASIN: B000001GBX
  • Other Editions: MP3 Download
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 105,496 in Music (See Top 100 in Music)

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

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6 of 6 people found the following review helpful By afficianado on 12 July 2012
Format: Audio CD Verified Purchase
Like other purchasers who have reviewed this disc here, I bought it on the reccomendation of the recent BBC Radio 3 "Building A Library" programme in which the presenter selected this disc as his generally top recommendation.
It goes to prove how many such things are actually subjective - and often a matter of personal taste.
Although such matters as technical precision and being truthful to the composer's directions etc. are more easily identifiable, matters regarding interpretation are of course much more debatable.
Personally, although this is a very generously filled and budget-priced disc, I would regard the performance of the main work on the disc for which most would obviously purchase it -the Dvorak concerto- as no more than generallly 'good'.
Here, Fournier -though technically accomplished and with fine tone- to my ears does not in reality get to the 'soul' of this great concerto.
To cite just one or two instances, he does not really modify either his tone-colour or tempo appropriately to do real justice to the gorgeous second-subject of the first movement, -merely ploughing on in a thoroughly dissapointing manner. He then scurries on at break-neck speed, which once again does not to my ears genuinely thrill.
Unfortunately, the du Pres/Barenboim recording -though undeniably both exciting and emotionally tense - is in reality more than a little course and rough in places, and du Pres' tone is certainly not flatteringly recorded.
For a more general and solid recommendation, I would therefore still opt for the Rostropovich/Karajan performance, -which is also at budget price. Although the recording does not do full justice to Rostropvich's glowing tone, it still remains -to my ears- a most magnificent and moving performance.
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3 of 3 people found the following review helpful By Christian on 11 July 2012
Format: Audio CD Verified Purchase
This version of the Dvorak concerto was recommended by the recent Radio 3 Building a Library as preferred by the (Czech) reviewer. I decided on that basis to buy, having listened to his detailed critique.

Fournier was highly regarded in my youth, and this recording confirms his mastery. Though George Szell is not the most obvious accompanist, this is a most satisfactory performance.

Fournier allows himself a little portamento in appropriate places, which is now perhaps unfashionable. He is also discreet in his use of vibrato, which is welcome, too. He is placed well forward on the sound-stage, perhaps rather more than is realistic, but I'm not complaining about that!

The recordings (three different conductors) are warm, full and clear, though there are occasional (slight) signs of congestion in tutti passages, probably inevitable with analogue recordings.

Schelomo (Solomon) is probably least well-known, though Bloch enjoyed a certain fashion in the fifties. It is, though, a satisfying piece, beautifully played.

Bruch's Kol Nidrei needs no recommendation, though my preferred performance remains the pre-war and completely over-the-top version by Suggia. Fournier, far more classical in his approach than Sra. Suggia, gives a very fine account, nevertheless, and has the benefit of a relatively modern recording

Altogether a classic recording from the early golden age of analogue stereo (1960s). Highly recommended for both performance and sound.
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10 of 12 people found the following review helpful By E. S. Moorhouse on 30 July 2011
Format: Audio CD
Three profoundly moving works featuring the cellist Pierre Fournier. For the Dvorak Cello Concerto in B minor op. 104, he performs with the Berliner Philharmonic, conducted by George Szell. This is a popular work, so there are many interpretations available, but what makes this one worth listening to is that it was recorded in analogue, and then transferred to digital. This gives it, in my opinion, a richer, warmer sound which is particularly noticeable in the final movement when the cello drives towards its thundering climax.

The second work, Schelomo, by Ernest Bloch (1880 - 1959) is one with which I was not familiar. It is a dark, quite melancholy work, filled with interesting tonal variations. The third and final work is currently popular on radio stations playing classical music - Max Bruch's hauntingly beautiful Kol Nidrei, an adagio based on Hebrew melodies. Again, the warm sounds of the original analogue recording give this an added dimension. The slow, measured pace of the piece, with its occasionally soaring higher notes can, on occasions, move the listener to tears.

All in all, three superb cello works which are complex enough to withstand hearing again, and again, and again.
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1 of 3 people found the following review helpful By TVRphyle on 23 Jun 2012
Format: Audio CD Verified Purchase
Came out as best version on the BBC Radio 3. Bought it and certainly agree even though it is a recording from the 1960s. What more can I say!
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 18 reviews
33 of 33 people found the following review helpful
Quality belies price 18 April 2000
By A Customer - Published on Amazon.com
Format: Audio CD
This recording of the Dvorak Cello Concerto is a performance in which the accompaniment is fully half of the equation. Szell gives the contrasting moods of the orchestral part a symphonic tautness. The cellist holds his own magnificently, fully matching Szell's electricity. The 1962 recording sounds amazingly good. Listen to the paired winds in the second movement theme to get a good idea of how transparent the sound is. The other two pieces are well done, too. The Bloch piece is remarkably atmospheric in spite of the soloist's close balance.
51 of 54 people found the following review helpful
beijingfox 5 Dec 2003
By "beijingfox2" - Published on Amazon.com
Format: Audio CD
There are countless versions in the catalogue of this concerto (probably the most difficult solo cello part to play completely convincingly in the current popular repertoire - it's HARD!) and many play "very well"....Lyn Harrell, Paul Tortelier, Mistislav Rostropovich, Heinrich Schiff, but the overall picture and feel which MUST be portrayed beyond the notes is normally missing to a degree in these and certainly in almost all others (including Yo yo Ma, Jaqueline Du Pre and many many others eauuuch). The technical playing of Fournier is without question particularly authoritative and impressive (all cellists agree!) - the right hand/bowing phrasing is special in a way which is just unforgettable and rich in tone....and the left hand contact and articulation with the strings never less than brilliant and inspired - but beyond that, the romantic sweep, ultimate control and passionate throb of the playing on ALL 4 strings - even high on the fingerboard with the A string (and D) - is unmatched even after 40 years! If you really want to hear one of THE definitive concerto recordings of the gramophone catologue (up there with Josef Hoffman's Chopin concerto recordings) then this is it. You don't necessarily need to be a cellist to appreciate the sheer gifted and beautifully thought-out musical tapestry beyond the bounds of mere cello-playing which is represented in this deeply passionate, and unforgettable performance . It will be up there on your SPECIAL list. Play it LOUD!!!! Beijingfox@hotmail.com
17 of 18 people found the following review helpful
For many, the definitive Dvorák Concerto 18 Dec 2007
By Grady Harp - Published on Amazon.com
Format: Audio CD
Though the 'warhorse concerti' each have champions, there are few who would deny the elegance and passion that Pierre Fournier brought to this treasured Dvorák Cello Concerto in B minor. This recording is a true bargain at the current price and one that every lover of classical music should own. Fournier is accompanied by George Szell and the Berlin Philharmonic Orchestra here and the forces are formidable. The long orchestral introduction of the concerto builds climatically for the soulful entrance of the cello, and once Fournier begins to spin his magic, the ensemble and conductor meld cohesively into a performance that even on these recording standards of the time are breathtaking.

As a special bonus on this 'collected album' Fournier brings the soul of the Schelomo rhapsody of Bloch (the Berlin orchestra is conducted by Alfred Wallenstein this time) and the Bruch 'Kol Nidrei' with the compassionate forces of the Lamoureux Concert Association Orchestra under the baton of Jean Martinon behind him. These additional works provide a fine framework for the Dvorák and Fournier is in top form for each of them.

There may just be another contender for the spotlight for the Dvorák concerto (another besides the luminous presence of Yo-Yo Ma) in the emergence of a fine young cellist from Germany, Johannes Moser. At a recent concert with the Los Angeles Philharmonic, guest conducted by Zubin Mehta, Moser proved to be not only capable of the technical demands of the work, but also an artist with a gift for elegance and surety of line and phrase that brought the audience to its feet cheering. He is a talent to watch! Grady Harp, December 07
7 of 7 people found the following review helpful
The Perfection and the Joy 4 Mar 2012
By John K. Casey - Published on Amazon.com
Format: Audio CD Verified Purchase
Many recordings of the beloved cello concerto by Antonin Dvorak are currently available. Some are dominated by the soloist as he endeavors to cope with the fiendishly difficult part for his instrument. In others, the conductor is prevalent, handling an orchestral accompaniment that approaches the complexity of any of the symphonies from the pen of the composer. But for virtuosic cello playing and faultlessly sympathetic orchestral accompaniment from start to finish, only one recording offers perfection. The Pierre Fournier/George Szell rendition with the Berlin Philharmonic is that performance. In the near half century since the recording sessions for this disc were taped on the three days ending June 3, 1962 at Christ's Church in Berlin, no cellist or conductor has bested this reading when it comes to integrating the highly complex solo part with the equally challenging orchestral accompaniment.

Szell opens the exposition of the traditionally structured first movement with his customary x-ray vision into the inner voices of the material, bringing forth music that is both lyrical and muscular. The solo horn passage is particularly magnificent. From the first notes of his entrance, Fournier shows he is ready to go toe to toe, pressing out the opening motif with a songful flair. Yet this is no "match of the technocrats" where the beauty and the drama of this greatest of cello concertos are sacrificed to dry exactitude. This is a performance of sheer joy; the celebratory feel of it comes across to this day. This pervasive delight extends to the second movement, which can sound maudlin in lesser hands than those of Fournier, who endows every note with a shimmering vivacity. His tone rises like the élan of a young tenor's voice on a spring morning, set to take on every challenge, full of life's anticipation, as it blends lovingly with the counterpoint in Szell's woodwinds and strings. Soloist and conductor open the third movement briskly. Szell stirs the orchestra in a manner reminiscent of his recording of Dvorak's Slavonic Dances, a fitting counterpoint to the arching, wistful tone of Fournier's cello. His playing at the sorrow-laden coda is matched only by Yo Yo Ma, in his recording with Lorin Maazel.

I have no idea of the precise origin of the elation that so clearly manifests in this recording, this magically fresh telling of material that is otherwise so familiar as to be hackneyed. Perhaps the members of the Berlin Philharmonic, free for a moment from the tyranny of von Karajan, were delighted to have as a relief even such a notorious task-master as Szell on the podium. Perhaps Fournier had heard the recording of Szell's 1938 collaboration with Casals and knew he was in the best of hands. Maybe Szell was still giddy about a successful round of golf he had played the day before. As Mozart aficionados, perhaps they were both pleased to read in that week's issue of Time Magazine that the Glyndebourne Festival, begun in 1934 as the only privately owned opera company in England, dedicated primarily to Mozart's works, was still going strong (and remains so today, happily). For whatever reason, all of the forces involved in this recording assembled for three magic days and writ large a miracle that we can still savor today.
10 of 12 people found the following review helpful
Very personal account! 13 Oct 2004
By David Lee - Published on Amazon.com
Format: Audio CD
The level of concentration throughout in this set of recordings is amazing...even though some may not know it, the Lamoreux orchestra is one of the very finest and it is the oldest orchestra in Paris. All of the recordings are top notch and are played with polish.

As a backgrounder, you may want to investigate the 1936 Casals/Szell coupling of the Dvorak on EMI! Wonderful in different ways!
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