Dvořák: Cello Concerto

Chronique

Antonin Dvorák's Cello Concerto is for its instrument the equivalent of the Tchaikovsky Violin Concerto (i.e., the most popularly performed and recorded). Therefore, almost every cello soloist will record it at least once, usually relatively early, in their career. Zuill Bailey's recording of the concerto comes from a 2011 concert performance with the Indianapolis Symphony Orchestra. Although one might immediately be tempted to dismiss this orchestra as provincial, it actually stands up well under conductor Jun Märkl as accompanist to Bailey's playing. It has a clean sound, and its ensemble work is precise. Its level of expression in the more exciting passages is almost on a par with Bailey's, although in the more lyrical, quiet passages, Märkl seems to keep closer control over it. Bailey is first-rate throughout the concerto, making the virtuosic ending of the first movement and the last movement compelling, and making his instrument sing in the second movement. In the finale, the cello notes head for the stratosphere, but Bailey's playing is as smooth and sweet as anywhere else. The two tone poems that follow the concerto on the album are nicely done, yet here the same conciseness used by Märkl and the orchestra in the concerto give the impression that everyone was slightly more concerned about a more technically accurate performance than a thoroughly audience-engaging one. Anyone who knows the story that accompanies The Water Goblin is able to follow it in their playing, and both poems are satisfactory for anyone who likes Dvorák's music. The recording's sound is fine, with the only indication of its being live is the applause at the end of the concerto.

© TiVo