Dvořák: Cello Concerto, Strauss: Don Quixote - Maisky, Mehta
Deutsche Grammophon 474 870-2 (2 discs)
Stereo/Multichannel Hybrid
Classical - Orchestral
Dvořák: Cello Concerto, Richard Strauss: Don Quixote
Mischa Maisky (cello)
Berliner Philharmoniker
Zubin Mehta (conductor)
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Review by John Broggio - February 16, 2006
This is a issue of two halves (literally as this was one of the early releases when Universal hadn't figured out how to put a decent amount of playing time on one disc) in respect of quality.
The Dvorak opens with an applause track, and it is curious to note how lukewarm the welcome is that Maisky and Mehta receive. The opening playing of the Berliners is nothing short of wonderful, and in sound that actually flatters them for once; this is one of the most natural capturing of the Philharmonie's acoustic. Sadly things soon take a turn for the worse with the entrance of Maisky - why oh why couldn't DG have found a soloist (any of the BPO's cellists for a start!) who wouldn't have so wilfully mauled Dvorak's great music; most points are in the score and do not need any "help". The notes, which are dreadful, make huge claims about Maisky reclaiming the "straitjacket of the specified tempi and notes." This would be a great improvement on what is actually delivered with constant unmarked rallentendo's, accelerations and a frequent harshness of Maisky's tone that verges on (or covers up?) some discrepancy between the BPO's idea of tuning and Maisky's... Not the last word on this concerto by any means. It is a great shame that the soloist is so wilful because the orchestral part can rarely have been so lovingly played. At least the notes do the reader a service in pointing out that DG has also a truly magnificent Dvorak recording in its archives from Rostropovich and Karajan! My advice would be to buy that disc instead for the Dvorak. For those to whom it matters, applause greets the conclusion after a very brief pause on the final track (not separated as in some other issues from DG).
Fortunately, the Strauss is another matter altogether. Once again the BPO are on top form and every note and phrase are beautifully moulded and handed from one section to another without apparent joins, whilst "intruding" special effects are conjured with wonderful abandon. Whilst Maisky's somewhat(!) wilful playing is a handicap in a piece such as the Dvorak, in mimicking the character of one of literatures' most self-absorbed characters, it goes quite well with Strauss' music and doesn't appear out of place here. Tabea Zimmerman's Sancho Pansa is well matched both in outlook and tone, as is the BPO's anonymous but superb concertmaster (I suspect from live performances that I have seen with the BPO that this is Guy Braunstein). Despite being billed as a concert performance, there is no applause and very little "participation" from the audience.
How to sum up? Orchestrally sublime throughout (5 stars). The soloists are good in the Strauss (4 stars) but Maisky's approach leaves a lot to be desired in the Dvorak (2 stars). I can't really allocate a star rating on this basis! However, the sound throughout is one of the best realisations of the Philharmonie's acoustic that DG have managed.
(Purchased)
Copyright © 2006 John Broggio and HRAudio.net
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