Concerto pour Violoncelle
Concerto per violoncello
+ R. Strauss: Don Quixote
Concerto pour Violoncelle
Concerto per violoncello
+ R. Strauss: Don Quixote
Int. Release 02 Jan. 2004
CD DDD 0289 474 7802 7 GH
Antonín Dvorák (1841 - 1904)
Cello Concerto in B minor, Op.104
Mischa Maisky, Berliner Philharmoniker, Zubin Mehta
Richard Strauss (1864 - 1949)
Don Quixote, Op.35
Mischa Maisky, Tabea Zimmerman, Berliner Philharmoniker, Zubin Mehta
Total Playing Time 1:20:11
. . . he gives an eloquent performance of this greatest of all cello concertos and reaches the heart of its overwhelming sadness and poignancy . . . The recording is full-bodied and the Berlin orchestras's playing sumptuous.
Maisky's firepower and musical range are remarkable, and the accompaniments are as classy and lustrous as anyone could expect.
Maisky is an instinctively impulsive and spontaneous musician . . . Here, Mehta allows Maisky room to breathe more naturally and the result is vastly more convincing . . .
. . . one of the world's leading cellists . . .
Excitement is the word in this recording. Zubin Mehta brings out the colour of these works especially vividly and the flamboyant Mischa Maisky is the ideal partner. Atmosphere is added by the fact that these are live recordings from the Berlin Philharmonie . . . Maisky . . . played with great resolution, punching out the sforzando spread chords with no loss of tone qualitiy. Maisky adjusts his sound to the context throughout in a way that seems entirely natural.
Maisky gives a very warm, sympathetic, and moving account of the "Don", the engineers have captured the Berlin Philharmonic's sound in luminous detail, and Mehta whips the orchestra up into fine frenzy in Strauss's whirlwind passages. Especially effective is Variation VII, "The Ride through the Air". Yet there is still one thing more to recommend this release . . . Tabea Zimmermann's full and rich viola tone and responsive technique are every bit the match for Maisky. This is a superb CD ż a fine new recording of Dvorák's Cello Concerto . . . and an outstanding new "Don Quixote, which, to me, is always welcome. Add excellent sound and playing time that exceeds 80 minutes, and you have a combination that's hard to beat.
Maisky ist zwar immer noch der Gefühlsmusiker, der sein Temperament auslebt und tonlich "in die Vollen" geht. Aber er tut es mit Augenmaß und mit dem Blick auf die Proportionen. Dvoráks Musik ist wie das pralle Leben... Ganz entscheidend von der superben Spielkultur der Berliner Philharmoniker lebt auch die Interpetation von Richard Strauss' "Don Quixote". Nicht viele Orchester vermögen diese komplexe und klanglich opulente Partitur unter Live-Bedingungen so perfekt und durchsichtig umzusetzen. Maisky fühlt sich mit Raffinesse in die Rolle des tragikomischen Don Quixote ein, Tabea Zimmermann am ersten Bratschenpult verkörpert den Sancho Pansa ebenso klangvoll und souverän -- ein aufregendes Solistengespann!
Maiskys Dvorák-Konzert klingt, klar ausgeleuchtet, wie ein inniges Geständnis -- souverän grundiert von Mehtas Berlinern, die spektakulär aufgenommen wurden. Bei Richard Strauss hört man Schafe blöken, die Windmaschine sausen; und doch erzählt Mehta ein spannendes Märchen -- mit Liebreiz, Leuchtkraft, Ironie.
Mischa Maisky umreißt den Titelhelden in "Don Quixote" wie ein meisterlicher Erzähler mit wunderschön tragendem Ton, perfekter Grifftechnik und ausgebuffter Piano-Kultur. ...Ganz in seinem Element ist Maisky auch im Dvorák-Konzert, besonders an Stellen mit fein gesponnenen Kantilenen und kammermusikalisch zugeschnittenem Zusammenspiel.
... Mehta crea un espacio sonoro suntuoso y de amplio respiro. Una lectura ... defendida con inteligencia y sobrada maestría.
Mischa Maisky heeft wat een meestercellist moet hebben: een ongeloofijke techniek en grote muzikaliteit.
Mischa Maisky heeft wat een meestercellist moet hebben: een ongelooflijke techniek en grote muzikaliteit . . . subliem spel van de Berliner ond er Mehta . . .
Maisky is een zelfbewust artiest die een grote technische perfectie paart aan eeen . . . flamboyante uitstraling . . .
|1948||Born 10 January in Riga, Latvia|
|1956||Begins first music lessons in Riga, where he attends the Children's Music School and Conservatory|
|1962||Enters the Leningrad Conservatory|
|1965||His début with the Leningrad Philharmonic this year earns him the nickname "Rostropovich of the Future"|
|1966||Prizewinner at the International Tchaikovsky Competition in Moscow; begins studies with Rostropovich at the Moscow Conservatory while pursuing a concert career throughout the former Soviet Union|
|1970||Imprisoned in a labour camp near Gorky for 18 months; following his release he emigrates from the USSR|
|1973||Settles in Israel; having won the 1973 Gaspar Cassadó International Cello Competition in Florence, makes his début at New York's Carnegie Hall with the Pittsburgh Symphony Orchestra under William Steinberg; after the concert an anonymous admirer gives him an 18th-century Montagnana cello on which he still performs today|
|1974||Studies with the legendary Gregor Piatigorsky, thus becoming the only cellist to have studied with both Piatigorsky and Rostropovich; this year appears as soloist with the Philadelphia Orchestra and Israel Philharmonic|
|1975||Beginning of his international career, with regular concerts throughout the United States, Europe, Australia, and the Far East, especially in Japan|
|1976||London concerto début with the Royal Philharmonic Orchestra|
|1977||London recital début with pianist Radu Lupu|
|1982||First recording for Deutsche Grammophon: Brahms's Double Concerto with Gidon Kremer and the Wiener Philharmoniker under Leonard Bernstein|
|1985||Signs his first exclusive contract with Deutsche Grammophon; two important CD Bach releases this year: the Cello (Gamba) Sonatas with Martha Argerich and Maisky's first recording of the Six Solo Suites|
|1987||Released on Deutsche Grammophon: Haydn Concertos with the Chamber Orchestra of Europe and the Schumann Concerto with Bernstein and the Wiener Philharmoniker|
|1989||CD releases include recordings of Dvořák's Cello Concerto and Bloch's Schelomo with Leonard Bernstein and the Israel Philharmonic (Record Academy Prize, Tokyo), and of Elgar's Cello Concerto and Tchaikovsky's Rococo Variations with Giuseppe Sinopoli and the Philharmonia, as well as Meditation, a collection of short Romantic pieces with pianist Pavel Gililov|
|1992||First appearance at the Proms in London; released on CD this year: Beethoven Cello Sonatas op.5 with Martha Argerich and Adagio, an anthology of Romantic pieces, with the Orchestre de Paris under Semyon Bychkov|
|1993||Gives a recital with Martha Argerich, one of his most important musical partners, at the Salzburg Festival; releases include Beethoven's Cello Sonatas opp.69 & 102 with Argerich|
|1994||Issued on CD this year: the two Shostakovich Cello Concertos with Michael Tilson Thomas and the London Symphony Orchestra|
|1995||Returns to Moscow for the first time after a 23-year absence to give a concert and to record works by Prokofiev and Miaskovsky for Deutsche Grammophon with Mikhail Pletnev and the Russian National Orchestra; CD release this year: a coupling of Vivaldi and Boccherini concertos with the Orpheus Chamber Orchestra (Echo Award 1996)|
|1996||Appears at the Salzburg Festival with pianist Daria Hovora; their Schubert CD collaboration Songs Without Words is released this year|
|1997||CD releases include a Tchaikovsky disc with the Orpheus Chamber Orchestra and Songs Without Words by Brahms (with Pavel Gililov)|
|1998||In May appears together with Martha Argerich and Gidon Kremer in Tokyo performing piano trios by Shostakovich and Tchaikovsky (recorded live by DG and released in 1999, Echo Award 2000); CD releases: Cellissimo with pianist Daria Hovora, a collection of shorter pieces spanning the centuries from Bach to Bloch; and a Saint-Saëns selection with the Orpheus Chamber Orchestra and Daria Hovora (Echo Award 1999)|
|1999||CD releases: a French collection entitled Aprčs un ręve (with Daria Hovora), the Brahms Sonatas (with Pavel Gililov), and his second recording of the Bach Suites, which receives wide critical acclaim|
|2000||Dedicates the year mostly to Johann Sebastian Bach, beginning with a "Bach Marathon" on 2 January in Zurich, where he plays all of Bach's works for cello (the Solo Suites and Sonatas with harpsichord) in three concerts on a single day, and giving over 100 Bach concerts in Japan, Korea, Hong Kong, China, Australia, North and South America, and most European countries during the course of the year; Maisky's CD releases this year: a Schumann disc, including the Cello Concerto with the Orpheus Chamber Orchestra and chamber works with Martha Argerich|
|2001||A recording of Maisky and Argerich Live in Japan (sonatas by Chopin, Franck, and Debussy) is released this year|
|2002||Japan tour in June; recitals with Martha Argerich at Carnegie Hall and Kennedy Center; trio recital with Martha Argerich and Gidon Kremer at Carnegie Hall; duo recital with Sergio Tiempo at the Salzburg Festival; summer appearances at Saratoga in Beethoven's Triple Concerto with Argerich, violinist Ida Haendel, Charles Dutoit, and the Philadelphia Orchestra, as well as a Schumann/Shostakovich trio recital there with Argerich and violinist Vadim Repin; CD release of Mendelssohn's Cello Sonatas with pianist Sergio Tiempo; recordings in Berlin of the Brahms G minor Piano Quartet with Argerich, Kremer, and Bashmet in March, and the Dvorák Cello Concerto and Strauss's Don Quixote with Zubin Mehta and the Berliner Philharmoniker in December|
|2003||Appearances include concerts and recitals at the festivals of Verbier, Dubrovnik, and Torroella, as well as throughout western and eastern Europe; a tour of the Far East (Dvorák Concerto) followed by a European tour; for DG: live recording in Brussels with Argerich of cello sonatas by Prokofiev and Shostakovich and Stravinsky's Suite italienne|
|2004||Concerts with the Latvian National Symphony Orchestra in Riga and on tour in Spain and Germany; appearances in Rome with Chung and the Orchestra di Santa Cecilia, in London with the Royal Philharmonic Orchestra, in Lisbon with the Gulbenkian Orchestra, in Paris with the Orchestre Philharmonique de Radio France, and in Baltimore and Washington DC with the Baltimore Symphony Orchestra; extensive performances of the Dvorák Concerto, including a tour with the Czech Philharmonic; on tour in Japan with the Prague Radio Orchestra; recitals and chamber music appearances in Europe, the USA, Korea, Japan, and at the Verbier, Schleswig-Holstein, and Salzburg festivals; CD releases: Dvorák and Strauss, with Mehta and the Berliner Philharmoniker, and chamber music by Brahms and Schumann, with Argerich, Kremer, and Bashmet|