Jacqueline du Pré

Jacqueline du Pré was 20 when she recorded Elgar's Cello Concerto with Barbirolli and the LSO August 1965 – an interpretation universally acclaimed for its profound expressiveness (see above).... — Gramophone Classical Music Guide, 2010 More…

Release Date: 1st Nov 2005
Catalogue No: SBT1388
Label: Testament

Gramophone Magazine

February 2006

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Elgar: Cello Concerto; Bach: Cello Suites #1 & 2

Elgar: Cello Concerto In E Minor, Op. 85 - 1. Adagio Moderato

Elgar: Cello Concerto In E Minor, Op. 85 - 2. Lento, Allegro Molto

Elgar: Cello Concerto In E Minor, Op. 85 - 3. Adagio

Elgar: Cello Concerto In E Minor, Op. 85 - 4. Allegro Moderato

Bach: Cello Suite #1 In G, BWV 1007 - Praeludium

Bach: Cello Suite #1 In G, BWV 1007 - Allemande

Bach: Cello Suite #1 In G, BWV 1007 - Courante

Bach: Cello Suite #1 In G, BWV 1007 - Sarabande

Bach: Cello Suite #1 In G, BWV 1007 - Menuet #1 & 2

Bach: Cello Suite #1 In G, BWV 1007 - Gigue

Bach: Cello Suite #2 In D Minor, BWV 1008 - Praeludium

Bach: Cello Suite #2 In D Minor, BWV 1008 - Allemande

Bach: Cello Suite #2 In D Minor, BWV 1008 - Courante

Bach: Cello Suite #2 In D Minor, BWV 1008 - Sarabande

Bach: Cello Suite #2 In D Minor, BWV 1008 - Menuet #1 & 2

Bach: Cello Suite #2 In D Minor, BWV 1008 - Gigue

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Reviews

2010

Jacqueline du Pré was 20 when she recorded Elgar's Cello Concerto with Barbirolli and the LSO August 1965 – an interpretation universally acclaimed for its profound expressiveness (see above). A second recording, taped live in 1970 with Daniel Barenboim and the Philadelphia Orchestra, has proved more controversial; du Pré's radiant intensity remains undimmed but instead of the nobility found in the EMI account one hears desperation, or something close to it.
This new Testament disc makes public another live document, recorded in Prague with Barbirolli and the BBC Symphony Orchestra. The general shape of this performance resembles the EMI recording, not surprisingly given that the studio session had taken place a little more than a year before. But while du Pré was always an electric player, the voltage clearly increased before an audience. One hears the difference immediately as she digs into the opening solo with startling urgency. Tempi, in general, are noticeably faster; and although Barbirolli and the orchestra occasionally fall behind, the phrasing is longer-breathed and the sections flow more smoothly one into the other.
Du Pré (onstage and a year on from the EMI version) finds a greater variety of mood in the score. The dolcissimo Elgar asks for at fig 8 (starting at 3'58" in the first movement) evokes an audible smile in the cellist's sound, for example.
Or try her magical way with the swooping phrase at 3'10" in the Adagio: the high note is floated beautifully in the studio but in concert her tone and timing take one's breath away. Best of all, perhaps, is the finale's Poco più lento (beginning at 6'42"), where du Pré's playing has an emotive force and eloquence akin to the greatest Shakespearian oratory – Barbirolli and the orchestra provide splendid support here.
Youthful (and previously released) interpretations of Bach's first two cello suites round out the disc, but the Elgar here is valuable enough to merit the highest possible recommendation.

February 2006

Jacqueline de Pré was 20 when she recorded Elgar's Cello Concerto with Sir John Barbirolli and the LSO in August 1965… This new Testament disc makes public another live document, recorded in Prague with Barbirolli and the BBC Symphony Orchestra. …while du Pré was always an electric player, the voltage clearly increased before an audience. One hears the difference immediately as she digs into the opening solo with startling urgency. Tempi, in general, are noticeably faster... I would venture to say, too, that du Pré (onstage and a year on) finds a greater variety of mood in the score. Best of all, perhaps, is the finale's Poco più lento (beginning at 6'42"), where du Pré's playing has an emotive force and eloquence akin to the greatest Shakespearian oratory - Barbirolli and the orchestra provide splendid support here.

Jacqueline du Pré

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