Dimitry Markevitch (1923 - 2002) was a Russian concert cellist, researcher, teacher and musicologist. He studied under Gregor Piatigorsky and founded the Institut de Hautes Etudes Musicales (IHEM) in Switzerland. His brother, Igor Markevitch, was an orchestral conductor.Markevitch rediscovered several important manuscripts, including Westphal and Kellner transcriptions of several Bach Suites, and published his own edition of the Suites, playing all six in recital at Carnegie Hall in New York in 1964. He was one of the first people to champion "authentic" instrumental techniques and played a baroque cello for pieces composed before the 19th century.
John Holloway and Davitt Moroney have set up a musically rewarding partnership in these brilliantly inventive works, furthermore adding to their programme the two lovely sonatas for violin and continuo long attributed to Bach, and justly so. In both of them they are joined by Susan Sheppard (continuo cello). For these sonatas Moroney has preferred a chamber organ to a harpsichord.
A majority of well-known composers have written at least a few chamber compositions in their entire lifetime. The most famous would have to be Mozart, Beethoven, Brahms, and probably Prokofiev. Some, including Respighi and Vaughan Williams, are overlooked or even rejected in today's society. Whether it's because of lack of originality or excessive complexities, these sorts of compositions are always left in the dark. Take Rachmaninov's Cello Sonata, for instance. This 35-minute work doesn't receive the complete recognition it deserves. It's overshadowed by the composer's piano concertos and symphonies, all of which are respectfully first-rate works in their own right.
‘This set of five discs is an invitation to a rather special journey: through what you hear, and what you read too, you will traverse, guided by the cello, not one history but several histories. With these Cello Stories, our intention is to show you how an instrument and its repertoire have taken shape whilst retaining the imprint and memory of diverse origins. I have selected the musical programme from my recordings for Alpha – some of them previously unreleased – to complement the text by Marc Vanscheeuwijck and numerous contemporary illustrations.’ –Bruno Cocset
Seemingly on an impulse, Robert Schumann wrote his Cello Concerto in A minor, Op. 129, during two weeks in 1850, heading towards the last years of lucidity and life. Schumann may never have heard it played as the concerto did not premiere until seven months after his death. On this disc we have the opportunity of hearing not only the Cello Concerto but three other pieces written for cello and piano, the Adagio and Allegro perhaps being the most well known..
Heitor Villa-Lobos' two numbered cello concerti come from the opposite ends of his output; the first Grande Concerto dates from 1915 and the second from 1953. In between there is another concertante work, the Fantasia for cello and orchestra, which is contemporaneous with the Bachianas Brasileiras No. 5 for soprano and eight cellos that remains Villa-Lobos' most popular work. In this MD&G issue, Heitor Villa-Lobos: Concertos for Violoncello and Orchestra, cellist Ulrich Schmid is heard with the Nordwestdeutsche Philharmonie under conductor Dominique Roggen in the numbered concertos only, although there easily would have been enough room on the 42-minute-long disc to accommodate the Fantasia as well.