Page 97 - The Strad (February 2020)

RECORDINGS

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writing and repetition often prevail NOW provide a carefully rehearsed where the composer’s inspiration feels
over true development. e soloist and compelling rendition, with an strongest, and here Wall‡sch provides
often plays the role of mediator, evocative delivery of the strikingly a richly powerful delivery of ‘Nigun’.
introducing lyrical themes that lyrical second theme. e golden JOANNE TALBOT
contrast with the more discursive hues of nostalgia also grace the other
writing of the orchestra. contribution from Korngold in the
Roel Dieltiens and the Orchestra shape of the ‘Tanzlied’ from his opera BEETHOVEN Complete
of the Eighteenth Century convey Die tote Stadt. Again a gloriously '££3 32!;!9 !2& !8-!ধ329
the hyperactivity of much of this soaring theme allows the cello to glow. Ori Epstein (cello) Omri Epstein (piano)
music, albeit a touch more laid-back Paul Ben-Haim’s Concerto is LINN CKD627 (2CD)
– and in a more generous acoustic – likewise treated to a meticulously Serious, rigorous performances from
than Nicolas Altstaedt with prepared interpretation. e work 9-#£-2+9 9;!2& <6 >-;, ;,' )2'9;
Arcangelo (Hyperion CDA68112), opens with strong rhythmic material,
to cite a recent competitor. Dieltiens’s and this feature is also present in the Anyone following the series of
contemporary instrument exhibits exciting and highly charged Finale, Dvořák piano trio recordings from
a grainier tone than Altstaedt’s, and a movement enlivened with strong the Busch Trio on Alpha will know
Glossa’s microphones focus on its hints of Orientalism. Although the what to expect from the ensemble’s
treble sonorities at the slight expense composer’s musical language is direct sibling cellist and pianist: articulate
of a richer, more tenorial sound. and uent there is a tendency, playing that’s in hock to no particular
DAVID THREASHER particularly in the central Sostenuto, performance tradition but which
for the melismatic ideas to lack a speaks with direct and unaŒected
sense of direction. Furthermore, the eloquence. Such virtues are especially
BEN-HAIM Cello Concerto (1962) close-miked recording diminishes the valuable in the expansive – not to say
BLOCH Symphony for Cello and dynamic range and this possibly does grandiose, even rambling – early
Orchestra (1954); Vidui and Nigun such works a disservice. sonatas, where even the most
from Baal Shem-Suite KORNGOLD Bloch’s contribution is also a mixed distinguished duos may lose
Concerto in C major in one bag. e Symphony for Cello lacks momentum and direction. Not the
movement; Tanzlied des Pierrot distinctive material, although the Epsteins, and their readings are
!6,!'£ !££)9$, l$'££3m !ধ32!£ central Agitato in this three- complemented here by a recording
8$,'9;8! 3( !£'9cæ<0!9A 383>-$A movement work achieves some degree that’s as lucid as their musicianship.
CPO 555 273-2 of intensity. Nonetheless, it is in I love how the Bachian rigour of
Plenty of gold to be mined here in an Bloch’s religiously oriented works op.5 no.2’s ‡nale is counterbalanced
'2;'868-9-2+ $3££'$ধ32 3( $32$'8;39

Raphael Wall‡sch’s enterprising series
for CPO has showcased a considerable
number of neglected cello concertos
by émigré Jewish composers. Perhaps
the most high-pro‡le and stylistically
de‡ned of those featured here is
Korngold. His Concerto, written at a
time when his star had been burning
brightly in Hollywood, was originally
created for the Warner Brothers ‡lm
Deception starring Bette Davis, and
JURI HIENSCH this reworking of the material re ects Lucid playing from musical
the emotional turbulence of the story’s
brothers Ori and Omri Epstein
love triangle. Wall‡sch and the BBC
FEBRUARY 2020 THE STRAD 95
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