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Dvořák: Cello Concerto, Rondo, Silent Woods
Alisa Weilerstein
Classical - Released April 21, 2014 | Decca Music Group Ltd.
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5 de Diapason
Following her successful debut on Decca with the cello concertos of Edward Elgar and Elliott Carter, Alisa Weilerstein serves up another touchstone of her repertoire, Dvorák's Cello Concerto in B minor. Even though this album offers a handful of pieces for cello and piano, which Weilerstein and pianist Anna Polonsky play with charm and sentiment, listeners will pay the most attention to the concerto, which is the program's raison d'être. Weilerstein's highly personal and intensely Romantic style of playing is well-suited to this concerto, which is big on emotion and poignant lyricism, and her long lines and rapt expression effectively carry the piece. The accompaniment by Jirí Belohlávek and the Czech Philharmonic Orchestra is vibrant and full of color and presence, though at no point is Weilerstein overwhelmed by the ensemble, thanks to the central microphone placement that is closely directed at the cello. Of course, such tight recording tends to expose the roughness of her multiple stops, and her entrance in the first movement is a bit startling. All the same, her rich timbres and passionate singing tone more than make up for any scratchiness one may encounter.© TiVo
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Dvorák: Slavonic Dances Opp. 46 & 72
Czech Philharmonic
Classical - Released October 7, 2016 | Decca Music Group Ltd.
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Classical music listeners resort to ethnic and national generalizations too often. Some of the most insightful Beethoven interpreters were French, and there are plenty of classic non-Czech recordings of Dvorák. Yet there's something uniquely satisfying about this version of the much-recorded Slavonic Dances (both sets, Op. 46 and Op. 72), and the satisfaction has something to do with the all-Czech origins. Take for example the match between the superb sound, recorded in Prague's Rudolfinium hall, and the texture of Jirí Belohlávek's Czech Philharmonic Orchestra, an ensemble he has molded into his own. The orchestra doesn't produce a Vienna Philharmonic-like sheen, but rather a slightly gutsier sound that is reproduced to the hilt by Decca's engineers in this recording. Listen to this, and you'll be reminded of the Czech Philharmonic's glory days in the 1960s and 1970s, when it was one of the few institutions in the country not under grim Soviet control. Belohlávek thinks each of these dances through. He delivers crisp readings of the basic exposition of the dance rhythms, but the real fun comes as he develops the material. Each of these dances is like a little ternary symphonic movement, and that's the way the work should be done. Sample the Slavonic Dance in F major, Op. 46, No. 4, where the minuet theme evolves into a sensitive study of register. Belohlávek will get your foot tapping in pieces like the Slavonic Dance in G minor, Op. 46, No. 8, which with its mode mixture is almost a little study for the Symphony No. 8 in G major, Op. 88, to come. But it's in the small details that he and the musicians really shine. A superior Dvorák recording.© TiVo
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Dvořák: The Complete Piano Works
Ivo Kahánek
Classical - Released August 24, 2021 | Supraphon a.s.
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Dvořák’s works for solo piano are in the main an unexplored landscape even for many a pianist and musicologist. This segment of his music lacks Chopin’s sway and finely nuanced emotionality, nor does it possess Liszt’s ostentatious virtuosity. Just as he did in his entire oeuvre, in his piano works too Antonín Dvořák eschewed flashiness, focusing instead on tender intimate lyricism, teeming with ideas, and shaping even his miniatures with the sensibility of a genius. Such music is certainly worthy of a new complete album. Upon the initiative of Supraphon and the Classical Music Academy, the challenging task was undertaken by Ivo Kahánek, an artist whose recording of Dvořák’s Piano Concerto made with the Bamberger Symphoniker conducted by Jakub Hrůša has deservedly gained critical acclaim. The present set encompasses larger cycles and occasional pieces, as well as several little-known works, recorded for the very first time. The album of Dvořák’ piano works provides yet another precious insight into the abundant world of the composer’s soul. Ivo Kahánek recalled the creation of the new recording as follows: “Preparations actually began back in the autumn of 2020, when I gave a concert featuring Dvořák’s music at Dvořák Prague and was the patron of the marathon of Dvořák’s pieces for solo piano within the self-same international festival. Yet I would only learn most of the repertoire in the spring of 2021, directly for the purpose of this recording. The most difficult thing to cope with was the time pressure, since due to the availability of the hall and the team we had to record five hours of music within a mere three months. The most gratifying aspect was discovering some little-known gems among Dvořák’s numerous piano works and having the opportunity to view the better-known pieces in a new way”. The album was made with the generous support of the Karel Komárek Family Foundation, the Classical Music Academy, the Ministry of Culture of the Czech Republic and the Faculty of Music of the Academy of Performing Arts in Prague. © Supraphon
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Dvořák: "American" Quartet, 8 Waltzes
Talich Quartet
Quartets - Released September 2, 2022 | La Dolce Volta
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Choc de Classica
Fascinated by the folklore of his native Bohemia, and gifted with inexhaustible melodic inventiveness, Antonín Dvořák went through several creative periods as he gradually broke out of the Classical mould; the last of these was deeply influenced by the years he spent in the United States. His kindness and optimism set him apart from the other great Romantics, darker and more tormented in character, and contributed to the unique charm and accessible character of his music, which have earned him justified popularity. The Talich Quartet demonstrates con brio that it is vital for a string quartet to regenerate itself with the arrival of new members who share the same urge to enhance the radiant tradition of the great Czech quartet school. Thus Jan Talich Jr. perpetuates the tradition with a "new" Talich Quartet alongside the violinist Roman Patočka, the eminent former cellist of the Pražák Quartet, Michal Kaňka, and the violist Radim Sedmidubský, previously with the Škampa Quartet. The new line-up began giving concerts in 2021 and immediately won over audiences with the lightness of tone, spontaneous expression, unpredictable accents and innate feeling for folk elements so characteristic of the founding members. As the sole guardian of the group’s legendary discography, it was only natural for La Dolce Volta to invite the members of the Talich Quartet back to the studio to record this new album. © La Dolce Volta
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Dvorák: The Slavonic Dances
George Szell
Classical - Released May 9, 2011 | Sony Classical
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Schumann: Symphony No.4 In D Minor, Op.120 / Dvorak: Symphony No. 8 In G Major, Op. 88
Wiener Philharmonic Orchestra
Classical - Released January 1, 1990 | Deutsche Grammophon (DG)
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Anton Dvorák : Complete Symphonies & Concertos
Czech Philharmonic
Classical - Released January 1, 2014 | Decca Music Group Ltd.
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5 Sterne Fono Forum Klassik
Even though Antonín Dvorák remains among the most popular of Romantic composers, compilations of his complete symphonies are somewhat scarce, especially when compared to those of other great symphonists of the 19th century. That's one reason why Jirí Belohlávek's 2014 set with the Czech Philharmonic Orchestra should get classical fans' attention, but a more valid reason to acquire this collection is the exceptionally high quality of the performances, which Decca recorded in a series of subscription concerts between 2010 and 2014. A deciding factor should be the strong feeling this conductor and orchestra have for Dvorák's music, not only because of a shared Bohemian tradition and the composer's legacy (Dvorák conducted the Czech Philharmonic's first concert in 1896), but also because few other orchestras communicate the rhythms and colors of the music as vibrantly and with as much excitement. As rare as sets of the complete symphonic cycle are, those that include Dvorák's concertos are rarer still. The recordings Belohlávek and the CPO made of the Cello Concerto in B minor with Alisa Weilerstein, the Violin Concerto in A minor with Frank Peter Zimmerman, and the Piano Concerto in G minor with Garrick Ohlsson are essential listening, and their inclusion with the symphonies gives the package much greater value. Decca's high-definition sound delivers clean details and close-up presence, so even though these recordings are live, they sound as fine as a studio recording. Highly recommended.© TiVo
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Beethoven: Diabelli Variations
Mitsuko Uchida
Classical - Released April 8, 2022 | Decca Music Group Ltd.
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Gramophone: Recording of the Month
The late Beethoven recordings of pianist Mitsuko Uchida have been career makers, and it is cause for celebration that she has capped them with the 33 Variations on a Waltz by Diabelli, Op. 120, a work that perhaps poses deeper interpretive challenges than any of the late sonatas. The Variations often show a kind of rough humor, and a performer may pick up on that, or the player may deemphasize the humor and seek out the epic qualities of the Piano Sonata No. 30 in E major, Op. 109, and Piano Sonata No. 32 in C minor, Op. 111. Uchida does neither. The outlines of her usual style, high-contrast and a bit dry, are apparent, but she does not let them dominate her reading. What Uchida realizes is that the abrupt transition from humor to the deepest existential ruminations is part and parcel of Beethoven's late style, and she works to hone the particular character of each Beethoven variation. Her left hand, as usual, is strikingly powerful, and this brings out many striking details (consider the stirring variation 16). The trio of slow minor variations toward the end are given great seriousness but are not in the least overwrought; Uchida achieves an elusive Olympian tone through the final variations. There is much more to experience here, for each variation is fully thought out, but suffice it to say that this is one of the great performances of the Diabelli Variations.© TiVo
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Dvořák: String Quartet, Op. 106; Coleridge-Taylor: Fantasiestücke
Takács Quartet
Classical - Released July 28, 2023 | Hyperion
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The Takács Quartet has been remarkably consistent, and the addition of a couple of new members doesn't seem to have affected the group's track record at all. Consider this release, which made classical best-seller lists in the summer of 2023. It is splendid. One attraction is the set of Fantasiestücke by Samuel-Coleridge Taylor. He has been showing up more frequently on concert programs and recordings, but these are novel, with just two recordings on small independent labels in the catalog ahead of this one. Coleridge-Taylor was still a student at the Royal College of Music when he wrote these short pieces for string quartet, but they clearly showed what was coming. Not only was he able to produce a decent facsimile of Dvořák's style (sample the Dance finale), but in the second-movement Serenade, he picked up the unusual 5/4 time of the second movement of Tchaikovsky's Symphony No. 6 in B minor, Op. 74, and put his own spin on it. The main attraction is Dvořák's String Quartet in G major, Op. 106, is even better, with many subtle details in the phrasing married to deep expression. Sample the Adagio ma non troppo slow movement, which has rarely seemed so profound; the opening melody rises to the level of Beethoven's late quartets here. There is a short early quartet movement to ring down the curtain and superb, idiomatic sound from the Wyastone Estate Concert Hall. This is certain to be counted as one of the top chamber music recordings of 2023.© James Manheim /TiVo
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Brahms: Symphonies Nos. 2 & 4 & Tragic Overture
Otto Klemperer
Classical - Released June 9, 2023 | Warner Classics
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Dvořák: Piano Trios Nos. 3 & 4
Christian Tetzlaff
Chamber Music - Released October 5, 2018 | Ondine
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Gramophone Editor's Choice
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Dvorák: Symphonies,Tone Poems, Requiem...
István Kertész
Symphonies - Released November 1, 2016 | Decca
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Diapason d'or / Arte -
Choc de Classica
![Russian National Orchestra TCHAIKOVSKY, P.I.: Swan Lake [Ballet] (Russian National Orchestra, Pletnev)](https://static.qobuz.com/images/covers/22/67/0761195116722_100.jpg)
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TCHAIKOVSKY, P.I.: Swan Lake [Ballet] (Russian National Orchestra, Pletnev)
Russian National Orchestra
Ballets - Released February 23, 2010 | Ondine
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This 2010 recording of Tchaikovsky's eternally popular Swan Lake ballet, with Mikhail Pletnev and the Russian National Orchestra might be ideal for dancing, but it is less ideal purely as a listening experience. On the whole, and in most of its parts, theirs is a highly dramatic and very fast-paced performance, filled with plenty of vigor, energy, color, and contrast. The score requires more pathos and bathos than depth and profundity, and Pletnev elicits from the Russian musicians a sweetly soulful and wholly polished performance. But this version misses the lightness and buoyancy of Gennady Rozhdestvensky's classic account of the work, a performance that sacrifices none of the work's drama, and allowing it space to dance. Pletnev's recording has many virtues, though, and the listener may find a place on the shelf for both his and Rozhdestvensky's versions. Ondine's sound is clean and lush, with plenty of detail.
© TiVo
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Beethoven : Bagatelles
Tanguy de Williencourt
Classical - Released February 7, 2020 | Mirare
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5 de Diapason
With this album, pianist Tanguy de Williencourt offers an original vision of Beethoven. The album includes various pieces, some with a “Webernian” length of 30 seconds to 2 minutes, consisting in skits into the musician’s imagination, like ripped off pages of the genius’ diary. In the time of Beethoven, French was in fashion. As their French inspired name indicates, the Bagatellen were sometimes light, sometimes erotic. Beethoven’s Bagatellen, as a name (more than a form) punctuated the composer’s entire career. Yet, he referred to them as his ‘Kleinigkeiten’, little things. A series of charming and dedication pieces (Für Elise), they, nevertheless, became almost prophetic in 1825, when Beethoven’s language resolutely began to foresee the future. © François Hudry/Qobuz
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Honegger: Symphonies Nos 1-5, Pacific 231, Mouvement symphonique No. 3
Serge Baudo, Czech Philharmonic
Classical - Released January 1, 1991 | Supraphon a.s.
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Beethoven: Fur Elise, Bagatelles Opp. 33, 119 & 126
Paul Lewis
Classical - Released July 10, 2020 | harmonia mundi
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‘Miniature’ Beethoven! In our collective idea of the piano, Beethoven’s name is associated with the monument of the thirty-two sonatas, which have often been elevated to the status of the ‘New Testament’ beside the ‘Old Testament’ of Bach’s Well-Tempered Clavier. Yet, over a period of decades, the composer of Für Elise constantly returned to the genre of the bagatelle, which he called ‘trifles’ but which actually meant a great deal to him. In this small form par excellence, as in the sonata, Beethoven laid the foundations for a flourishing new genre, the piano miniature. Whether they last a few minutes or a few seconds, these Bagatelles are masterpieces! © harmonia mundi
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Herbert von Karajan - The Early Lucerne Years
Robert Casadesus
Classical - Released September 8, 2023 | audite Musikproduktion
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Four pianos, Four Pieces
Alexander Melnikov
Classical - Released February 9, 2018 | harmonia mundi
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Gramophone Editor's Choice
"Four oeuvres, four pianos" might be a better way of looking at the cover of this album by Alexander Melnikov: Schubert is played on a (simply stunning) Viennese Graf fortepiano from around 1835, Chopin on an Érard grand piano from 1837, Liszt on a Bösendorfer from 1875 and Stravinsky on a modern-day Steinway - the only work which is not played on an instrument contemporary to its composition, as Petrushka dates from 1911, and most certainly not from 2014 like the Steinway in question! The differences between the four instruments are not immediately obvious, but Melnikov's project is to demonstrate just how closely art and instrument follow one another: the Wanderer Fantasy benefits from the clarity of the Graf fortepiano which, while it lacks powerful volume, offers a startling palette of different sounds for the artist to explore. Chopin's twelve Études Op. 10 on the Érard – still within a few years of the Graf – increased the power of the sound in particular, but at the cost of reducing the range of colours in the palette. With the Réminiscences de Don Juan by Liszt, the Bösendorfer unleashes real pianistic thunderbolts, which almost overshadows the content! Finally, Petrushka on the Steinway takes us back into a rather more familiar territory. This is a concept of pairing from Melnikov, whose fondness for historical instruments is well-known. © SM/Qobuz
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Elgar & Tchaikovsky: Cello Works with Orchestra
Johannes Moser
Classical - Released February 1, 2017 | PentaTone
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5 de Diapason -
Gramophone Editor's Choice -
5 Sterne Fono Forum Klassik
The profoundly moving, elegiac lyricism of Elgar and the wistful charm and brilliance of Tchaikovsky are on full display in this irresistible new Pentatone release. Composed at the end of the First World War, Elgar’s powerful Cello Concerto in E minor is one of his best-loved and most deeply-felt works. The soloist’s wrenching chords which open the work announce a mood of profound resignation and loss; gone is the youthful swagger of his earlier works, replaced instead with lonely introspection and longing, especially in the sublimely beautiful Adagio. The cello is given free rein in the vigorous final movement but the opening mood prevails as an anguished outburst from the cello brings the work to a close. No such dejection hangs over Tchaikovsky’s delightful Variations on a Rococo Theme which ooze elegance, ineffable charm and daring displays of technical brilliance. While the Pezzo capriccioso finds Tchaikovsky in a more restrained mood, with the Nocturne and Andante Cantabile he wears his romantic heart full on his sleeve. The great Russian writer Leon Tolstoy is said to have wept when he heard the Andante Cantabile and its sumptuous theme shows Tchaikovsky’s unerring gift for haunting melodies. It remains a special gem in the repertoire. The cellist Johannes Moser is no stranger to these works. Winner of the top prize at the 2002 Tchaikovsky Competition, he was also awarded the Special Prize for his interpretation of the Variations on a Rococo Theme. Described by Gramophone as “one of the finest among the astonishing gallery of young virtuoso cellists” and by The Lo Angeles Times as a musician who “…connects with the audience in a way that only great artists do”, this is Moser’s third outing for Pentatone. His first album of concertos by Dvořák and Lalo was widely praised for his “performance of enormous flair and effervescence” (BBC Music Magazine). (A Pentatone Introduction)
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Schubert: Schwanengesang & String Quintet
Julian Prégardien
Classical - Released September 10, 2021 | Alpha Classics
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Here are two works composed by Schubert at the very end of his short life. Schwanengesang (Swansong) was written in Vienna in the autumn of 1828. He died on 19 November at the age of thirty-one, and Die Taubenpost (Pigeon post), which closes the collection, is said to be his very last composition. The fourteen songs, by turns light-hearted, sombre and melancholy, are settings of poems by Ludwig Rellstab, Heinrich Heine and Johann Gabriel Seidl. In the summer of the same year he composed his String Quintet in C major, scored for two cellos, which was not premiered until 1850, at the Vienna Musikverein. The power and orchestral dimensions of the work make it a pinnacle of nineteenth-century chamber music. We could not have dreamt of a finer line-up of musicians to record these two Schubert monuments. Fanny Mendelssohn’s Schwanenlied (also to words by Heinrich Heine) completes the programme, along with Felix Mendelssohn’s Song Without Words No. 1 (for solo piano), composed a year after Schubert’s death and Schubert’s own setting of an unrelated Schwanengesang (D. 744, on a poem by Johann Senn). © Alpha Classics
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