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Elgar & Carter Cello Concertos (MP3 Music)

Elgar & Carter: Cello Concertos
4.0 out of 5 stars
Decca wants to turn its debut of Alisa Weilerstein into an occasion. No one has been able to erase memories of Jacqueline du Pre in the Elgar Cello Concerto; no doubt performers feel intimidated. The dominance of du Pre is realized when Amazon's editorial review tries to hype this recording by pointing out that du Pre's husband Daniel Barenboim hasn't touched the piece much without his wife. Could it be that a bit of the du Pre magic has continued with Barenboim?

The problem, of course, is that the magic was never Barenboim's. Weilerstein is left with the same mountain to climb as the rest of du Pre's successors. For Weilerstein, the best way to compete with du Pre is to try a completely different approach. Du Pre pushed forward with searing passion, baring her soul with no attempt to mask her feelings. While Weilerstein showcases Elgarian richness and melancholy, she is considerably more reserved. On the podium, Barenboim places less stress on grandeur, aiming to emphasize...Read more

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Decca wants to turn its debut of Alisa Weilerstein into an occasion. No one has been able to erase memories of Jacqueline du Pre in the Elgar Cello Concerto; no doubt performers feel intimidated. The dominance of du Pre is realized when Amazon's editorial review tries to hype this recording by pointing out that du Pre's husband Daniel Barenboim hasn't touched the piece much without his wife. Could it be that a bit of the du Pre magic has continued with Barenboim?The problem, of course, is that the magic was never Barenboim's. Weilerstein is left with the same mountain to climb as the rest of du Pre's successors. For Weilerstein, the best way to compete with du Pre is to try a completely different approach. Du Pre pushed forward with searing passion, baring her soul with no attempt to mask her feelings. While Weilerstein showcases Elgarian richness and melancholy, she is considerably more reserved. On the podium, Barenboim places less stress on grandeur, aiming to emphasize...Read more
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I had the pleasure of interviewing the cellist Alisa Weilerstein prior to her appearance in Philadelphia, and she said that while concertos of the late romantic Elgar and the late modernist Elliott Carter are "diametrically opposed," it made sense to juxtapose them, for, as she said, "To understand where you're going, you have to know where you're coming from." The Elgar, she said, is a heartbreaking requiem for an age shattered by war, while the Carter is rhythmically angular, moving in fits and starts, yet full of wit and good humor. (Daniel Barenboim, who suggested the pairing, encouraged her to find the humor, telling her, "You can't play Carter between your teeth.") For me, the Cello Concerto is the most impressive and substantial of Mr. Carter's late orchestral works, and, among his solo concerti, second only to the Piano Concerto in its impact. Weilerstein finds the right expressive touch for both Carter and Elgar, as different as they might be. Her tone is warm, her attack...Read more
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