Composer: Antonín Dvořák
Performer: Daniel Müller-Schott, Robert Kulek
Orchestra: NDR Sinfonieorchester
Conductor: Michael Sanderling
Format: FLAC (tracks)
Label: Orfeo
Catalogue: C855141
Release: 2014
Size: 345 MB
Recovery: +3%
Scan: cover
4 Romantic Pieces, Op. 75, B. 150 (Arr. for Cello & Piano)
01. No. 1, Allegro moderato
02. No. 2, Allegro maestoso
03. No. 3, Allegro appassionato
04. No. 4, Larghetto
Cello Concerto in B minor, Op. 104, B. 191
05. I. Allegro
06. II. Adagio ma non troppo
07. III. Finale. Allegro moderato
08. Klid, Op. 68 No. 5, B. 182
09. Rondo in G Minor, Op. 94, B. 181
Slavonic Dance in G Minor, Op. 46, B. 83
10. No. 8, Presto (Arr. for Cello & Piano)
Gypsy Songs, Op. 55, B. 104
11. No. 4, Songs My Mother Taught Me (Arr. for Cello & Piano)
Antonín Dvorák’s Cello Concerto is one of the absolute masterpieces of the genre, and every world-class cellist naturally takes it into his repertoire. This is also the case for Daniel Müller-Schott, who will be performing it in the great concert halls of Europe in 2014 and in the Lincoln Center in New York: thus in the very same city where Dvorák worked as conservatory director and where he wrote the concerto.
Dvorák began his work in passionate, stormy mood, but completed it in lyrical, elegiac vein under the shadow of the illness and death of his sister-in-law Josefina, who had been his own first love.
Müller-Schott’s new recording also includes several chamber music works and arrangements that offer insight as to how Dvorák gradually accustomed himself to the cello, up to the point when he composed his concerto in 1894-5. There is the catchy ‘Rondo’ that Dvorák wrote in 1892 for a chamber music tour, and ‘Silent Woods’, an arrangement made for the same tour, heard here in Dvorák’s own orchestral versions. Together with the pianist Robert Kulek, Müller-Schott has also recorded arrangements of the four Romantic Pieces op. 75 and of ‘Songs my mother taught me’ from the Gypsy Songs cycle. The latter is perfectly suited to the cello’s cantabile character and Daniel Müller-Schott’s interpretation.