Music / cellokoncerter

Viola concerto


Reviews (61)


The guardian

d. 26. Nov. 2021

By

By

Andrew Clements (musikanmelder)

d. 26. Nov. 2021

"Two great British cello concertos, one extremely well known, the other inexplicably neglected, and both composed in response to the horrors of the first world war are featured here ... The performance by Gabriel Schwabe and the ORF Vienna Radio Symphony Orchestra under Christopher Ward is hugely impressive, full of finely realised detail, and lacking in bombast. And there is something refreshingly straightforward, too, about Schwabe's approach".


Klassik heute

d. 25. Dec. 2021

By

By

Martin Blaumeiser

d. 25. Dec. 2021

"Gabriel Schwabe hat sich nun mit zwei englischen Konzerten beschäftigt, die rein äusserlich kaum gegensätzlicher auf die Erfahrung des Ersten Weltkriegs reagieren könnten, bei genauerem Hinhören aber die gesangliche Ausdrucksfähigkeit des Cellos mit gleicher Intensität und Strahlkraft sprechen lassen ... Schwabes Cellospiel ist fantastisch, der Ton gross, differenziert und von ansprechender Wärme [Elgar] ... Schwabe ist ein perfekter Anwalt für Bridges Vielschichtigkeit, seine empathische Klangrede nimmt stets gefangen; das Orchester ist ebenso hochengagiert".


The guardian

d. 19. Jan. 2023

By

By

Andrew Clements (musikanmelder)

d. 19. Jan. 2023

"As Timothy Ridout's fine performance with Martyn Brabbins and the BBC Symphony Orchestra shows, the concerto is entirely convincing as a viola work ... It could even be argued that the central pair of movements are more effective in the viola version than in the original - Ridout makes the scherzo fabulously nimble and precise, and the long aching lines of the Adagio even more plangent ... Ridout is equally impressive in Ernest Bloch's Suite ... The best music comes in the third movement, an enchanted nocturne, which Ridout spins out on a beautiful thread of silvery tone".


The guardian

d. 23. Mar. 2017

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By

Erica Jeal

d. 23. Mar. 2017

"Moser plays the composer's original version [of the Variations], and sets off at a brisk trot - rococo is not going to be a byword for prissy. But the lightness is balanced by a gently yearning lyricism, and he shapes the minor-key variation into one long, seamless line ... Throughout, Andrew Manze and the Orchestre de la Suisse Romande are supportive at every turn".


Kulturradio RBB

d. 15. Dec. 2016

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By

Hans Ackermann

d. 15. Dec. 2016

"Mühelos gelingt der Cellistin das moderne, neoklassizistische "Spiel mit Tönen", wie Martinů seine Arbeit genannt hat. Im Elgar-Konzert kann man erleben, dass die spätromantische Klangwelt auch in unserer Zeit durchaus modern klingen kann. Sol Gabetta bleibt dabei immer in enger Verbindung zum Orchester, geht mit ihrem wunderbar inspirierten Cellospiel eigene, aber nicht eigensinnige Wege - perfekter Zusammenklang ... Eines atemberaubenden Vortrags".


The guardian

d. 1. Dec. 2016

By

By

Andrew Clements (musikanmelder)

d. 1. Dec. 2016

"Gabetta's playing is intense and searching, less introspective than some performances in the Adagio, perhaps, but epic in scale in the outer movements, and always keenly responsive ... Those who possess her earlier disc might not think they need to invest in this one, but would then miss Gabetta's vivid, pulsating account of the Martinů concerto ... She finds real depth and intensity in it, both in the slow movement and in the introspective episode that interrupts the finale's headlong rush".


MusicWeb international

2022 January

By

By

Gwyn Parry-Jones

2022 January

"Recommended: My immediate reaction when this CD dropped through the letter-box was 'the perfect coupling!' - which indeed it is ... So this CD, which is a fine addition to the catalogue, is especially welcome ... The young German cellist Gabriel Schwabe gives a truly outstanding performance of this concerto [Elgar] ... Schwabe produces a tone from his 1695 Guarneri instrument that is intensely expressive, with a plangent, slightly nasal quality in the upper register, and a sound lower down that is always clear, never afflicted with excessive resonance ... Overall the performance delivered by Schwabe and his conductor Christopher Ward is overwhelming in its impact".


Presto classical

d. 20. Jan. 2023

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By

Katherine Cooper

d. 20. Jan. 2023

"Recording of the week: Ridout's viola sings with such ease and presence in the lower reaches that you may well find yourself forgetting that you aren't listening to 'the real thing'. Brabbins's sensitive weighing of balance undoubtedly helps, only letting the brass fully off the leash in the passages when the soloist is silent and bringing out slightly different colours in those moments where the viola steps into the role of accompanist ... A shoo-in for viola-philes, then - but also a compelling addition to the Elgar concerto's distinguished discography on its own terms".


NDR.de

d. 4. May 2018

By

By

Raliza Nikolov

d. 4. May 2018

"Das Cellokonzert von Edward Elgar ... Intensität, Wärme und Unerbittlichkeit im Klang zugleich: Marie-Elisabeth Hecker vermittelt ganz unmittelbar, was es bedeuten kann, wenn Leid und Schönheit ganz nah beieinander liegen. Sie sei jemand, der Leiden und Schmerz nicht nur als etwas Schlimmes ansehe, sondern sie auch geniessen könne. Das ist nicht einfach so dahingesagt, das spürt man in jedem Takt, und man kann lange darüber nachdenken ... Und das Klavierquintett? ... Sie hat mit Martin Helmchen, Carolin Widmann, David McCarroll und Pauline Sachse Partner an ihrer Seite, die gemeinsam agieren, als wäre dieses Ensemble ihre Hauptbeschäftigung".


Kulturradio RBB

d. 16. Apr. 2018

By

By

Antje Bonhage

d. 16. Apr. 2018

"CD der Woche: Indem Hecker ihre Lieblingsmusik spielt und mit Freunden besetzt - vor allem aber auch durch ihre feinsinnige Interpretation bringt Marie-Luise Hecker viel Persönliches zum Ausdruck. In dieser Hinsicht ist das Album ein Doppelporträt, einmal des Komponisten Elgar und dann der Cellistin Hecker. Auf alle Fälle ist es: unbedingt hörenswert".


DR musik

2010 uge 13

By

By

Jens Cornelius

2010 uge 13

"Vurdering: Ugens cd" - "Cellisten Sol Gabetta har den særlige slags scenepersonlighed, der får alle til at spidse ører og øjne. Det gnistrer og synger i celloen, når hun spiller".


Presto classical

2020

By

2020

"Dai Miyata ... was the first Japanese to win the first prize at the 9th Rostropovich Competition in 2009, thus finally climbing the Olympus of the international virtuoso world ... MDG presents the artist ... with a very special programme: Edward Elgar's popular cello concerto meets the "Dark Pastoral", which David Matthews has recreated from unfinished drafts by Ralph Vaughan Williams. Ralph Vaughan Williams, Elgar's pupil, had left only sketches for a planned cello concert for the legendary Pablo Casals. Only the slow movement is available in a fair copy, which however breaks off abruptly ... David Matthews has turned it into a playable piece, which he called "Dark Pastoral" because of its elegiac character. The BBC Scottish Symphony Orchestra, under its principal conductor Thomas Dausgaard, perfectly strikes the tone of both works - audibly a stroke of luck for Dai Miyata and for British music".


Politiken

d. 12. Sep. 2006

By

By

Michael Bo

d. 12. Sep. 2006

"Verden har fået en stor ny cellist, nemlig den 30-årige Daniel Müller-Schott fra München og en slags protegé af violiniststjernen Anne-Sophie Mutter ... Man kan vel ikke sige, at verden stod og savnede en indspilning af Elgars cellokoncert, men denne er den bedste, vi har fået i mange år".


Berlingske tidende

d. 15. Nov. 2007

By

By

Søren H. Schauser

d. 15. Nov. 2007

"Her spiller hun [Natalie Clein] landsmanden Elgars cellokoncert på en helt bestemt måde, nemlig lidt som afdøde Jacqueline du Pré gjorde det - lidt som alle britiske cellopigers forbillede gjorde det. Altså ikke udvendigt og overdrevent virtuost, men inderligt og smerteligt. Tænk at kunne dét i hendes alder ... Det er simpelthen en plade, man sådan helt umiddelbart kan lide".


Kristeligt dagblad

d. 27. Feb. 2013

By

By

Peter Dürrfeld

d. 27. Feb. 2013

"Allerede fra de første takter står det klart, at Alisa Weilerstein er i stand til at frembringe en fantastisk klang fra sin cello, et ædelt instrument fra 1790. Hun spiller Elgars koncert, som om hun aldrig havde bestilt andet. Og hun har da også selv fortalt, at Jacqueline du Pré var hendes barndoms heltinde ... Men hendes fortolkning er i kunstnerisk henseende ikke en kopi af du Pré. I Weilersteins og Barenboims udgave er værket nok en kende mere svulmende eller Wagnersk, om man vil, i hele sit anlæg".


Jyllands-posten

d. 1. Mar. 2013

By

By

Jens Povlsen

d. 1. Mar. 2013

"Hendes Decca-debut er så langt fra det famlende, som man kan komme, men så glødende i sit udtryk, at det næsten gør ondt. I en hvirvel af lidenskab og blottede melodilinjer omringer hun og Barenboim lytteren i vellyd, så nakkehårene rejser sig. Elgars spindelvæv af følelser sætter hun i svingninger uden at forfalde til svulmende nostalgi, og Carters spiddende cellokoncert gør hun det vidunderligt svær at beskytte sig imod".


Jyllands-posten

d. 30. Aug. 2004

By

d. 30. Aug. 2004


Weekendavisen

d. 24. May 2013

By

By

Peter Johannes Erichsen

d. 24. May 2013

"Det har varet længe, før Daniel Barenboim fandt en solist, som han følte kunne løfte arven [efter Jacqueline du Pré]. Det blev cellisten Alisa Weilerstein ... Den for alvor langsomme tredjesats åbner for Elgars mahognifarvede verden, der er så svælgende tung, at det alligevel kun var vilddyret Jacqueline du Pré, der kunne rive lysflænger ind i musikken. Barenboim og Weilerstein celebrerer også Elliott Carters violinkoncert ... Også Max Bruchs elegiske Kol Nidrei bliver der plads til på denne generøse cd".


BBC music magazine

2006 July

By

By

Helen Wallace (musikanmelder)

2006 July

"This is a glossy, Rolls Royce of an Elgar ... He cannot match the insouciant charm and athletic grace os its dedicatee, Piatgorsky, but there's a vivacity to his palying which suggests a master in the making".


Fono Forum

2013 Dezember

By

By

Andreas Friesenhagen

2013 Dezember

"Vurdering: Tipp" - "Queyras und Behlolávek gehen dem grossen romantischen Auftrumpfen aus dem Weg und zeigen vielmehr, dass etwas Klassizistisches in diesem letzten grossen Cellokonzert der Romantik steckt".


BBC music magazine

2013 November

By

By

David Nice

2013 November

"No note or tone is misplaced, with harmonics especially pure, and a judicious use of vibrato means that Elgar's loping first-movement Moderato begins very purely indeed. It's refreshing not to have the Concerto larded with sentimentality; but I miss an extrovert swagger ... Best is Dvorak's Silent Woods".


BBC music magazine

2022 February

By

By

Terry Blain

2022 February

"Precisely because Schwabe eschews the kind of lingering nostalgia which can easily turn Elgar's masterpiece sentimental, his is one of the most existentially riveting interpretations on disc ... Schwabe's tone is sinewy, his tuning consistently excellent, and conductor Christopher Ward draws sharply proactive playing from the ORF Vienna Radio Symphony Orchestra ... In short, Schwabe's performance is a must for any follower of Elgar's music on record ... Frank Bridge's 'Oration' for cello and orchestra is a bold coupling. The performance is again excellent, but the piece itself too often seems tryingly heavy-handed".


Fono Forum

2022 April

By

By

Burkhard Schäfer

2022 April

"Mit dieser Neuproduktion macht es das Label seinen Käufern jetzt richtig schwer, sich zwischen "neu" und "alt" zu entscheiden. "Alt" meint hier die vor 30 Jahren entstandene Aufnahme mit ... der - grossartigen! - Solistin Maria Kliegel ... Was den solistischen Part betrifft: Hier vermag ich mich zwischen Kliegel und Schwabe nicht zu entscheiden. Beide sind gleichsam ideale Interpreten des Elgar-Konzerts und man könnte fast glauben, dass Schwabe in die Fussstapfen seiner Vorgängerin tritt ... Beide Aufnahmen sind ein Fest für die Ohren. Und das gilt auch für das so ganz anders geartete "Concerto elegiaco" (1930) von Frank Bridge ... Den elegischen Ton dieses Trauerarbeit am Ersten Weltkrieg leistenden Werks trifft Schwabe (alp-) traumhaft intensiv. Die ORF-Musiker assistieren kongenial".


BBC music magazine

2023 March

By

By

Terry Blain

2023 March

"Elgar's 'Viola Concerto' - a transcription ... of the Cello Concerto to suit the viola's octave-higher pitch - had the composer's approval ... Ridout's account of the opening movement is full of richly rhapsodic playing, although the viola suggests more of a wistful musing than the deeper, elegiac contemplation possible on the cello ... No such considerations apply to Ernest Bloch's Suite for Viola and Orchestra ... Ridout brings a stringent intensity to the opening movement ... and embraces the roisterous finale with relish. With incisive support from Martyn Brabbins and the BBC Symphony Orchestra, you are left wondering why this eventful piece is not heard more often in concert".


Fono Forum

2023 Mai

By

By

Norbert Hornig

2023 Mai

"Bratschistinnen und Bratschisten äussern sich immer wieder bedauernd darüber, dass es kein grosses romantisches Konzert für ihr geliebtes Instrument gibt ... Dass Edward Elgar 1930 die Bearbeitung seines Cellokonzertes für Viola und Orchester ... war Bahnbrechend. Timothy Ridout ... überzeugt hier in einer expressiven, klangvoll gerundeten Interpretation des Werkes. Er zeigt auf, wie überzeugend Elgars Musik auch auf der Viola wirkt, man wird in eine neue, hellere Klangsphäre hineingezogen".


BBC music magazine

2007 November

By

By

Helen Wallace (musikanmelder)

2007 November

"Compared to the exquisite refinement of Truls Mørk (Virgin) or Yo-Yo Ma (Sony), Clein's performance lack detailed shaping and variety of timbre ... The upside is the delightful selection of salon pieces at the end of this disc".


BBC music magazine

2006 March

By

By

Helen Wallace (musikanmelder)

2006 March

"Du Pré's Elgar has an epic weight missing from many modern interpretations: she squeezes every last drop from the piece ... This does not replace the famous 1965 version with Barbirolli ... which has the visionary eloquence without ragged entries, intonation flaws and coughs".


BBC music magazine

2017 May

By

By

Rebecca Franks

2017 May

"Johannes Moser is an unfailingly elegant soloist. His rather matter-of-fact approach to the Elgar misses some of the work's elegiac lyricism, but the Tchaikovsky Variations have a suitably Rococo grace and spirit".


Fono Forum

2017 Juni

By

By

Carlos María Solare

2017 Juni

"Moser legt eine bewundernswerte Virtuosität an den Tag. Selten hat man das Allegro Molto in diesem rasenden Tempo und dabei so fein artikuliert gehört [Elgar] ... Die Werke von Tschaikowsky ... Leider konnte sich die Originalfassung bis heute nicht durchsetzen [Die Rokoko-Variationen], was Mosers elegant-virtuose Interpretation doppelt willkommen macht".


Diapason

2017 avril

By

By

Patrick Szersnovicz

2017 avril


Fono Forum

2017 Januar

By

By

Ole Plüger

2017 Januar

"Weicher und etwas matter, als man es gewohnt ist, klingt ihr Cello, und es stellt sich eine überraschende Erkenntnis ein: Man muss gar nicht mit jedem Bogenstrich die Welt zerreissen wollen, auch bei Elgar nichet"".


Diapason

2017 fevrier

By

By

Nicolas Derny

2017 fevrier


BBC music magazine

2017 April

By

By

David Nice

2017 April

"In Gabetta's Elgar ... the wind solos and ensembles have never sounded more beautiful ... and Gabetta has her own ideas about dynamics, all of which are convincing. Vitally, the Adagio heart of the work is as personal and spellbinding as any I've heard ... [In Martinů] Gabetta and Krzystof Urbanski hit the painful heights of a profound slow movement. More Martinů ... from this cellist, please".


Diapason

2012 juillet-août

By

By

François Hudry

2012 juillet-août


Opus

2013, nr. 47

By

By

Johanna Paulsson

2013, nr. 47

"Det är du Prés tolkning från 1965 med John Barbirolli (EMI) som förblir ett rättesnöre, omöjligt att inte förhålla sig till. Den amerikanske cellisten Alisa Weilerstein är inget undantag; det hörs att hon har lyssnat på du Pré. Men också att hon så småningom har lagt förebilden på hyllan och funnit en egen, högst personlig röst. Tonen är liksom du Prés både passionerad och precis. Men Weilersteins läsning har något ålderdomligare, mer nostalgisk över sig".


BBC music magazine

2013 February

By

By

Calum MacDonald

2013 February

"Vurdering: Recording of the month - Vurdering: BBC music choice" - "Each concerto is a masterwork in its own terms, and together they add up to a superb showcase for the talents of a gifted soloist ... Weilerstein avoids nostalgia and produces instead an account that is full of passion, grieg and nobility of feeling ... A thoughtfully-constructed and thought-provoking programme".


Fono Forum

2013 März

By

By

Michael Kube

2013 März

"Vurdering: Empfehlungen des Monats" - "Ist das die neue Jaqueline du Pré? Der Vergleich liegt nahe ... Sie [Alisa Weilerstein] spielt weniger intuitiv und animalisch, stattdessen melancholisch und mit Eleganz. Der Einfluss von du Pré ist zwar noch zu hören ... Mit warmem Ton umarmt sie das Orchester".


Klassisk

2013, nr. 29

By

By

Esben Tange (f. 1962)

2013, nr. 29

"Lige fra første tone står det klart, at den 31-årige amerikanske cellist Alisa Weilerstein er en fuldblods romantisk musiker. Med en intens mørk mahogniklang er hun i stand til at fastholde lytterens opmærksomhed i en sjælden grad. Og når Weilerstein som her går i musikalsk kompagniskab med en autoritet som Daniel Barenboim og hans trofaste musikere i Staatskapelle Berlin, er der skabt et sjældent musikalsk kraftfelt".


The gramophone

2006 August

By

By

Edward Greenfield

2006 August

"The solo cello is balanced very far forward so that at the start of the Walton its sound obscures the subtle detail in the orchestration. That said, there is everything to enjoy in performances that are uninhibited, bringing out the warmth of both pieces".


International record review

2006 June

By

By

John Warrack

2006 June

"Wallfisch's performance os beautiful, with a very gentle, reflective beginning, a swift, almost furtive scherzo, and a heartfelt but understated adagio ... The other two works have been much neglected ... it is one of of the most powerful of Bridge's works ... scored with the luminosity that Holst could so beautifully achieve in his orchestration. It is good to have it included in this excellent disc".


The gramophone

2013 October

By

By

Andrew Achenbach

2013 October

"Queyras is a commandingly secure and articulate soloist, and he enjoys attentive, typically selfless support throughout from Jiri Belohlavek and the BBC SO ... Watkins's endearingly communicative and deeply tender advocacy in particular really does touch to the marrow every time ... Both the lovely Dvorak miniatures are idiomatically surveyed".


International record review

2013 October

By

By

John Warrack

2013 October

"It is a colourful and entertaining performance, with the scrupulous care for the textures part of the decorative nature of the music".


The gramophone

2022 February

By

By

Andrew Farach-Colton

2022 February

"His [Schwabe] playing is eloquently expressive [in Elgar], mind you, but I find myself disconcerted nonetheless ... But as the movement unfolds, he seems to lighten up, both in tone and character ... And from there the performance goes from strength to strength ... Schwabe's reticence is particularly perplexing given that he plays Bridge's 'Oration' with such burning intensity, vividly capturing the work's agonised character ... He makes a compelling case for the importance of Bridge's title in coming to an understanding of this deeply moving score".


The gramophone

2023 February

By

By

Rob Cowan (f. 1948)

2023 February

"Editor's choice: The Elgar is a fully fledged heroic concerto where, beyond the opening recictative ... the orchestra rises to a very considerable height. Ridout is a strong, personable player whose deft handling of the Scherzo and heartfelt playing of the Adagio make the concerto's central episodes exceptionally memorable ... As Bloch recordings go (sadly there are still too few of them on the market), this is without question one of the finest. The music is quite simply glorious, more than a match for the Elgar Concerto".


Diapason

2023 février

By

By

Pascal Brissaud

2023 février


Optakt

2008 02

By

By

Jens Cornelius

2008 02

"Cellokoncerten er et gennemsigtigt og ret kortfattet værk. Natalie Clein understreger det ved at spille koncerten som var den et stort stykke kammermusik, befriende klart både rytmisk og klangligt. Musikkens blanding af fortvivlelse og folketone præsenteres udtryksfuldt, men uden svulstighed ... Det har krævet stort mod af dette højt begavede engelske håb at fortolke musikken så anderledes end legenden du Pré. Men fremtiden tilhører Natalie Clein".


The gramophone

2007 Awards

By

By

Edward Greenfield

2007 Awards

"Vurdering: Editor's choice" - "No shortage of Elgar passion as Clein shows that du Pré's classic account is not definitive ... She is helped by wonderfully refined sound, which brings out the subtlety of her control of pianissimi, with clear and transparent orchestral accompaniment, in which Vernon Handley is an ideal, idiomatic accompanist".


International record review

2006 January

By

By

Julian Haylock

2006 January

"She provides a musical experience unlike any other ... the way she conjures the ends of phrases so that one wishes they would go on forever ... A superlative release".


Fono Forum

2006 Juni

By

By

Norbert Hornig

2006 Juni

"Auch hier ist du Pré beeindruckend, ihr Elgar-Ton unmittelbar packend, ihre spontaneität und Natürlichkeit entwaffnend. Dass die zwei Jahre ältere EMI-Aufnahme insgesamt runder und stimmiger wirkt, dürfte auch auf die aufnahmetechnisch optimierten Studiobedingungen zurückzuführen sein".


The gramophone

2006 February

By

By

Andrew Farach-Colton

2006 February

"Vurdering: Record of the month" - "This new Testament disc makes public another live document ... While du Pré was always an electric player, the voltage clearly increased before an audience ... Apparently, there are other live Elgar concerto recordings, but the one here is valuable enough to merit the highest possible recommendation".


The gramophone

2017 May

By

By

Rob Cowan (f. 1948)

2017 May

"Editor's choice: A most unusual account of the Elgar Concerto, one that's both musically gripping and recorded at relatively close quarters. The first minutes command immediate attention ... Moser offers a performance that combines sensitivity, agility and brilliance, while Manze and the Suisse Romande Orchestra are consistently on the ball ... Altogether a wonderful CD".


The gramophone

2017 February

By

By

Rob Cowan (f. 1948)

2017 February

"Gabetta's handling of Martinů's life-affirming First Cello Concerto ... embraces the gamut of colours and technical jinks called for with what sounds like genuine relish. This is superb cello-playing and Krzysztof Urbański directs a vital and sensitive accompaniment".


International record review

2009 October

By

By

Carl Rosman

2009 October

"Carpenter's playing is very fine indeed: the sound is ideally open and focused even at the extremes of dynamic and tessitura with no hint of "Pinch" above the treble stave ... Both for its content and the daring of its coupling, this is a rewarding, provocative release".


The gramophone

2009 October

By

By

Andrew Achenbach

2009 October

"Vurdering: Editor's choice" - "Such is the work's emotional clout and cumulative impact, I can guarantee you'll kepp coming back for more. It helps, too, that Carpenter plays with superlative assurance and magnetic conviction, and he is backed to the hilt by Eschenbach and an audibly fired-up Philharmonia".


The gramophone

2012 July

By

By

Andrew Aschenbach

2012 July

"Vurdering: Gramophone choice" - "Aided by outstandingly eloquent support from Sir Andrew Davis and the BBC Philharmonic, Watkins plays with consummate artistry, his golden-toned and technically flawless contribution striking a judicious balance between classical poise and unexaggerated depth of feeling ... Every Elgarian should investigate this release".


International record review

2012 May

By

By

John Warrack

2012 May

"Paul Watkins gives an affecting account of Elgar's Cello Concerto ... It is a strong idea to include all five of the much traduced Pomp and Circumstance marches ... Davis takes them as worthily crafted pieces of music by a great composer".


BBC music magazine

2012 July

By

By

Stephen Johnson (f. 1955)

2012 July

"Yes, of course, the competition is stiff. But there are times when a recording of a popular classic comes along that's so fresh, understanding and heartfelt that it demands to be approached solely on its own terms. Paul Watkins's Elgar Cello Concerto is firmly in that class".


Information

d. 16. June 1999

By

d. 16. June 1999


Kristeligt dagblad

d. 18. Oct. 1999

By

d. 18. Oct. 1999


The gramophone

2013 February

By

By

Peter Dickinson

2013 February

"Vurdering: Gramophone choice" - "The young American cellist Alisa Weilerstein has been called the new du Pré and I can see why. Her Elgar is not as wayward as du Pré in the famous 1967 live performance with Barenboim and the Philadelphia Orchestra but it's still remarkably impressive ... Her developing band of fans will devour this CD".


The gramophone

2010 October

By

By

Rob Cowan (f. 1948)

2010 October

"Vurdering: Editor's choice" - "Beauty and talent can go hand-in-hand and Sol Gabetta's Elgar concerto is one of the best around, a heartfelt, tonally rounded performance, intimate and wholly at one with Mario Venzago's generally subtle handling of the orchestral score ... Strongly recommended".



Information and editions