Dvorak: Cello Concerto in B minor, Op. 104

Jamie Walton is joined by the Philharmonia Orchestra under the baton of their conductor laureate Vladimir Ashkenazy for this new concerto recording of concertos and orchestral works by Dvorák and Schumann.

Jamie Walton has proved himself as a leading light in UK's musical life; as a performer in his widely praised concerto and sonata recordings, and as a festival director in his work as founder of the North York Moors Festival, which was shortlisted for an RPS Award in 2011.

Norwegian cellist Truls Mørk is among the leading masters of his instrument, while the Dvorák concerto and Tchaikovsky's Rococo Variations are among the most popular works in the cello repertoire. This interpretation with the Oslo Philharmonic Orchestra conducted by Mariss Jansons is regarded to this day as a reference recording.

A recording of two of Dvorak’s most loved works together on disc – the Symphony No.9 in E minor “From the New World” and his Cello Concerto in B minor.

These two works are not often paired together on recordings. They were recorded live during the 11/12 Santa Cecilia season.

Dvorak wrote the 9th symphony following a trip to America. It is imbued with the rhythms of native American immigrant folk music cast in the language of the 19th century romantic musical language. Antonio Pappano, born in America but working in the European tradition, sees this piece in new and fresh ways because of his own heritage. This is the first time Pappano has conducted the 9th symphony, although he has admired the work for years.

This will also be a rare recording of the first edition of the Dvorak Cello Concerto, completed in 1895 - before he accepted a few of the numerous changes suggested by his cellist friend Hanuš Wihan (to whom Dvorak dedicated the work), It is far less frequently heard and, according to Dmitry Markevitch (the respected Russian concert cellist, researcher, teacher and musicologist) “much more musical”.

Dvorak wrote the concerto towards the end of his highly productive stay in America – he was in New York for his third term as the Director of the National Conservatory. He was inspired after hearing the second cello concerto by Victor Herbert - a fellow teacher at the Conservatory – 1894. Up till then Dvorák had always refused, stating that the cello was a fine orchestral instrument but totally insufficient for a solo concerto.

The concerto smacks of the anticipatory pleasures that Dvorák felt at the prospect of returning home. It opens with a large-scale and dramatically powerful Allegro, before striking a more dreamy note in the Andante and culminating in a fast and furious finale with folk-like elements from Bohemia - a compositorial greeting from the New World to Dvorák's distant homeland.

It is performed by the renowned Italian cellist Mario Brunello. He won the International Tchaikovsky Competition in 1986 – the first Italian to ever do so, and has been catching the attention of musical authorities, including Maestro Pappano, ever since. He tours in Europe, America & Japan, appearing with leading orchestras and conductors (eg Semyon Bychkov, Myung-Whun Chung, Daniele Gatti and Valeri Gergiev).

Rostropovich’s famous performance of Dvorak’s second cello concerto appears at super budget price for the first time and is coupled with Maxian’s rendition of the Piano Concerto. Idiomatic accompaniment is given by the Czech Philharmonic, conducted by Vaclav Talich.

'This is a performance in which the soloist emphasises the lyrical side of the work and dwells yearningly on its lovely tunes in a way that is poignant and moving........ Rostropovich commands a beautiful singing tone’ Gramophone

Legendary cellist Pierre Fournier's stereo recording of the Dvorak Cello Concerto is well known, but his earlier recording from July 1954 for Decca is largely forgotten. It is revived in this Kubelik-led anthology, also bringing back to the catalogue the conductor's mono version of the Janacek Sinfonietta and his electrifying account of Tchaikovsky's love poem Romeo and Juliet, both recorded in March 1955. All recordings make their first international appearance on CD.

For his second solo recording, after his critically acclaimed recording of Haydn’s Cello Concertos (which inaugurated his exclusive recording contract with VC in 2003), Gautier Capuçon tackles Dvorak’s masterpiece for cello (his only cello concerto), and couples it with that of an unfortunately under-reputed composer of the era.

Gautier Capuçon is accompanied by Paavo Järvi who directs the Frankfurt Radio Symphony Orchestra, to which Paavo Järvi has is music director since September 06.

Dvorák wrote the concerto while in New York for his third term as the Director of the National Conservatory after having listened to Victor Herbert’s (a fellow teacher at the Conservatory) second cello concerto in 1894. Up till then Dvorák had always refused, stating that the cello was a fine orchestral instrument but totally insufficient for a solo concerto.

Victor August Herbert (February 1, 1859 – May 26, 1924) was a cellist, conductor and composer of light opera. His Cello Concerto is a new asset to Virgin Classics’ catalogue. Quite rarely recorded, it isn’t today available on either VC’s or EMI Classics’ catalogue - Julian Lloyd Webber’s recording with Charles Mackerras and the London Symphony Orchestra on EMI isn’t available at this date.

‘Gautier Capuçon plays the cello with the control and wisdom of a much older musician. The lightness of his touch and the consistent clarity of his bow strokes are quite admirable in themselves, but when combined with an uncanny sweetness of tone in the higher registers they are breathtaking.’ Gramophone