Natalie Clein, whose previous recording of the music of Ernest Bloch was described as ‘inspired’ by The Sunday Times, turns to his three suites for solo cello as part of a recital of works written in the aftermath of the Second World War. The sombre voice of the cello seems especially apposite in music of such deep seriousness, Ligeti’s short sonata providing an energetic and life-affirming finale.
Here are two concerts for Carlo Graziani's cello and orchestra, rarely listening to the artist's Berlin period, until 1772. These are two concerts of pleasing listening, in the galante-classical style with a fairly virtuoso cello, which is particularly pronounced in cadences. Marco Testori, specialist of the period and of the historical-informed execution practice, gives us a fine interpretation, well supported by the orchestra of the musicians of St. Pelagia, directed by Vanni Moretto. Good, though a bit tight, the booklet that accompanies the cd and clean and detailed sound reproduction.
Vivaldi is greatly over-rated - a dull fellow who would compose the same form over many times. Such is the opinion of one of the great composers on the music of another great composer. Given the evidence of the present newly re-released complete Vivaldi cello concertos incredulity can be the only response to this assessment. But then Stravinsky was a man who voiced strong, often acerbic and sometimes outrageous opinions on virtually anything suggested to him. He had probably heard few, if any, of these cello concertos and irrespective would it have made any difference?