Pyotr Ilyich Tchaikovsky (1840-1893)
Variations on a Rococo Theme, Op 33
Antonín Dvořák (1841-1904)
Cello Concerto in B minor, Op 104
John-Henry Crawford (cello)
San Francisco Ballet Orchestra/Martin West
rec. 2023, Skywalker Sound, Nicasio, California, USA
Orchid Classics ORC100292 [62]
In both works on this CD, composer and cellist fell out over presentation: Dvořák insisted that no cadenza be added to his finale, whereas Tchaikovsky agreed to one but later regretted reordering of his variations and some cuts by his cellist. Fitzhagen’s revision remains more familiar and is played on this CD. Solo cellist John-Henry Crawford reveals the theme with engaging artistry, elegant and happily antique. Suddenly (tr. 1, 2:20) the woodwinds enter in Tchaikovsky’s style and balletic manner, a frisson often repeated. The cello effects a compromise in Variation 1 (tr. 2), daydreaming a fantasy of triplets in semiquavers. Variation 2 (tr. 3) is a virtuoso ballet romp between cello and orchestra. Variation 3 brings full-blooded emotional Andante sostenuto presentation of the theme. Midway (tr. 4, 2:06) flute and clarinets’ accompaniment attempts light relief. Crawford stays heedlessly intense. Variation 4 (tr. 5) fares better with Crawford, who is now playful. A chirpy flute takes the spotlight in Variation 5 (tr. 6). In Variation 6 (tr. 7), an Andante in D minor, for me Crawford is too indulgent. Variation 7 (tr. 8) is a dash to the finishing line, its total optimism enjoyed by all.
I compare this with the 1989 recording by Steven Isserlis with the Chamber Orchestra of Europe/John Eliot Gardiner (Warner 5419753305) who play Tchaikovsky’s original version. Variations 1 and most of 2 are unchanged. Isserlis treats the theme with more affection while Gardiner’s woodwinds’ less spiky approach creates more joyous simplicity. The original Variation 7 (Fitzhagen 3) is more beautifully phrased by Isserlis with the woodwinds calmly in empathy and Isserlis’ more delicate high harmonics to close. The original Variation 4 (Fitzhagen 7) is captivatingly, balletically nifty between cello and flute. The original Variation 5, Andante grazioso (Fitzhagen 4) contrasts the elegance of Isserlis’ cello with the intricacy of woodwinds’ more animated ‘chorale’. Crawford’s is marred by too dominant a balance. The original Variation 6 (Fitzhagen 5) brings flute more happily to the fore. The cellist regains top spot through Tchaikovsky’s original Variation 7 more fittingly positioned than Fitzhagen 3. I prefer Isserlis/Gardiner’s 3:27 timing of this Andante sostenuto to Crawford/West’s 3:56. It brings more flow to the phrasing, a thankful nostalgia with the woodwinds’ soloists in companionship. Crawford’s more emotive playing is very moving but cello close-miking blunts the orchestral response’s fervour. The original Variation 8 was cut by Fitzhagen. Isserlis/Gardiner restore its lighter, cello-lead approach before the coda (from tr. 10, 1:35 in their recording) is as Fitzhagen’s.
In the Dvořák Cello Concerto Martin West becomes vibrant when three horns blast out the opening of the first theme, then electric with the ff tutti (tr. 9. 0:51). He luxuriates in the transition to the second theme (2:06), the theme itself pp on solo horn, nicely sustained. The third element of the exposition, a dance very much of Slavonic flavour (3:01), West treats firmly; I’d prefer more snap. Crawford enters f risoluto, splendidly virile. He softly takes up the second theme(5:40) with a beautifully rounded tenderness. He’s equally effective at the searching quality of the return of the first theme, now mf (9:17) like a new understanding which becomes a movingly concentrated duet with flute. Earlier restless, abundant semiquavers return, only resolved by the orchestra’s sudden championing tutti of the second theme (11:30) and Crawford’s f version of it (11:40), wholly thankful and optimistic in glorious tone and heart-on-sleeve expression. Dvořák now brings a buoyant tutti of the first theme (13:52), the soloist’s involvement largely peripheral. The San Francisco Ballet Orchestra’s horns and trumpets have a field day with a cymbal clash too (13:58) not in my Eulenburg score.
Neither is it in my comparison, the 2013 recording by Alisa Weilerstein with the Czech Philharmonic/Jiři Bêlohlávek (Decca 4785705). Crawford/West are intensely present and crackling. Weilerstein/Bêlohlávek choose a benevolent approach salving all problems and rejoicing in serenity. Timing the movement at 14:34 against Crawford/West’s 15:02, Weilerstein/ Bêlohlávek offer a smoother, more flowing account, with more finesse in orchestral detail interchanging with the soloist. Bêlohlávek gets snap out of the third element dance. Weilerstein begins her return to the first theme very softly, growing briefly louder, creating more raptness.
Crawford/West’s slow movement starts with luscious woodwind quintet rondo theme and cello response, glowing and suitably paced, but not really soft or a dolce cello. Dynamic contrasts are effective in Crawford’s later extended reflection. Weilerstein/Bêlohlávek are more peaceful, Weilerstein more dolce and more consistent in dynamic contrasts. A harsh tutti brings an episode (Crawford/West tr. 10, 2:56) which the cello treats as if a variation with molto appassionato repetitions from 4:12 and 5:42, revealing anguish beneath the earlier serenity. The tutti returns, the cello accompanies oboe and bassoon, Crawford eloquent in sorrowing expression from 5:46. The movement passes into a sustained, glorious coda (8:58) where unanimity of feeling between Crawford and a flotilla of accompanying instruments is palpable and affecting. Weilerstein/ Bêlohlávek, timing the movement at 11:16 against Crawford/West’s 12:20, arguably move too freely over the harsh tuttis, Weilerstein’s molto appassionato repetitions blunted by their pace. However, her softer playing in the coda makes for a more rarefied, tender close.
The Allegro moderato finale is a more straightforward rondo. West’s orchestra again achieves terrific abandon. Crawford’s first bite of the full march theme adds a touch of jocularity. The first episode, like a variation (tr. 11, 1:34), buoyantly shares blaring brass and decisive strings. Crawford from 2:12 finds a sunnier atmosphere followed by a clarinet reminiscence from the first movement (2:46). Dvořák adds a more extended Moderato sunny section (6:10). A luminous tutti version of the theme (8:17) is a natural outcome, broadened into a brass then woodwind paean, finally swelling to a brief but emphatic Andante maestoso coda (12:19). Crawford/West by turns splendidly display the movement’s uninhibited and fantasy qualities. Nevertheless, the more civilised Weilerstein/ Bêlohlávek are lighter yet more sparkling in articulation, especially in the sunny material. The interplay of the reminiscence between clarinet and Weilerstein is especially compelling. Overall, from Weilerstein I feel a more gripping engagement with the varied manner of the solo.
Michael Greenhalgh
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