Déjà Review: this review was first published in January 2009 and the recording is still available.
Camille Saint-Saëns (1835-1921)
Complete Works for Cello and Orchestra
Cello Concerto No. 1 in A minor, Op. 33 (1872)
Cello Concerto No. 2 in D minor, Op. 119 (1902)
Suite in D minor for cello and orchestra, Op. 16 (1862)
Romance in F major for cello and orchestra, Op. 36
Allegro appassionato for cello and orchestra, Op. 43
The Swan (arr. cello and orchestra)
Johannes Moser (cello)
Radio Sinfonieorchester Stuttgart des SWR/Fabrice Bollon
rec. 2007, Funkstudio, Stuttgart, Germany
Hänssler Classic CD93.222 [69]
These scores, with the exception of Cello Concerto No. 1 and the highly popular The Swan are rarely heard in the concert hall, which is a shame given the high quality of craftsmanship.
These may be Moser’s first recordings made with an orchestra but he is no stranger to the recording studio having made three separate Hänssler Classic discs of cello sonatas: Shostakovich; Weinberg and Boris Tchaikovsky on CD 93.176 that won an Echo Klassik Award 2007; Brahms; Fuchs and Zemlinsky on CD 93.206 a winner of Echo Klassik Award 2008 and Brahms; Richard Strauss and Herzogenberg on CD 93.207.
Saint-Saëns composed several works for the cello and his Concerto No. 1 is the first and finest of his two concertos. It is rightly regarded as one of the best loved cello concertos in the repertoire. The sunny and colourful score is compact in structure and plays in one continuous movement with three distinct sections. Moser describes the work: “From a technical point of view, the first is relatively easy to master, with forceful, rousing Romantic gestures allowing the soloist and orchestra to shine in equal portions.” Moser provides a dramatic interpretation of the stormy Allegro non troppo while the attractive main theme is beautifully played. The yearning Allegretto con moto is especially movingly performed and the buoyancy of the closing Allegro section with its dazzling Coda provides a stunning conclusion to this magnificent score. At times Moser’s playing reminded of the enviable qualities of the Paul Tortelier. Throughout the score the accompaniment is always elegant and rousing when required.
The Cello Concerto No. 2 was composed in 1902, for the Dutch cellist Joseph Hollmann, some thirty years after the First. The themes are not acknowledged as having the memorability of its predecessor and consequently it has been greatly overshadowed by the initial attractiveness of the earlier score. This notwithstanding, the D minor Concerto is greatly admired by cellists and provides the soloist with considerable technical challenges. Cast in four parts, the score is presented in two large sections. Johannes Moser finds the work “… more complex in many ways. For instance, the cellist must manage difficult passages with double stops right at the beginning. Nor does the composer make it easy for the performer in terms of expression, since it demands a stylistic balancing act between a classical understanding of music and a neo-Romantic gesture; what is more, the form is not so homogenous and as easy to understand as the first concerto”.
In the opening Allegro moderato e maestoso Moser provides playing of splendour; so comfortingly rich and warm. It is mpressive how Moser imparts a deep meditative quality to the Andante sostenuto. The Allegro non troppo is played with a hectic and restless quality and high forward momentum. Moser is enthralling in the Cadenza and the spirited Molto allegro is extrovertly played to bring an exultant conclusion. I noted that the often densely textured orchestral accompaniment was stunningly played by the Stuttgart players.
Composed in 1862 the Suite in D minor is in five brief and appealing movements. The Suite at just under twenty minutes lasts a similar length to the two cello concertos. Biographer Michael Steinberg has written that the Suite, “… is generally regarded as the first work in which an individual and identifiable Saint-Saëns voice can be heard.” In the D minor Suite Moser conveys a shadowy mood in the Prelude. I enjoyed the soloist’s emphasis on the dance-like qualities of the Serenade and I was struck by the breezy effervescence of the Scherzo. In the fourth movement Romance Moser communicates a languid feel and the Finale is lively and vivacious.
Saint-Saëns originally wrote his short Romance in F major, Op. 36for cello (or horn) and piano in 1874. The Romance is presented here in the version for cello and orchestra. Affectionately handled by Moser this undemanding score with its light and charming melody has been described as suitable for the Parisian salon.Rather than the version for cello and piano Moser has chosen this one for cello and orchestra.
The single movement Allegro appassionato, Op. 43was composed in 1873 and has become a staple of the cello repertoire. It seems that the moderate technical challenges presented by this brief score have made it a popular choice of young cellists in competitions and recitals. More frequently heard in the version for cello and piano this arrangement is a lesser heard gem. Despite the undemanding nature of the Allegro appassionato Moser exercises the utmost care yet makes this an energetic and carefree interpretation.
Saint-Saëns deliberately avoided publishing ‘The Carnival of the Animals’. Realising the sheer charm of the score Saint-Saëns did not wish to be remembered only for this work, fearing that his reputation as a serious composer would be affected. Of the fourteen movements Saint-Saëns permitted only the penultimate movement The Swan to be published in his lifetime. Not surprisingly this attractive score has achieved great popularity. In this arrangement for cello and orchestra the music so convincingly evokes a swan gliding graceful over the still water. With The Swan Moser lets himself go with unashamedly heart-on-sleeve playing that enchants and delights from start to finish.
A showpiece work the Saint-Saëns Cello Concerto No. 1 has been recorded many times over the years. Consequently there are several excellent versions established in the catalogues by many of the world’s finest performers, for example: Jacqueline Du Pré with the Philadelphia Orchestra/Barenboim on EMI; Pierre Fournier with the Lamoureux Orchestra of Paris/Martinon on DG; Lynn Harrell and the Cleveland Orchestra/Marriner on Decca; János Starker with the London Symphony Orchestra/Dorati on Mercury; Yo Yo Ma with the French National Orchestra/Maazel on Sony; Mstislav Rostropovich with the London Philharmonic Orchestra/Giulini on EMI and Paul Tortelier with the City of Birmingham Symphony Orchestra/Frémaux on EMI. The Cello Concerto No. 2 has fared less well in the studios and consequently recordings, not to mention sets containing both concertos, are much harder to find in the catalogues.
Of the more recent recordings of both the A minor and D minor I greatly admire the versions from Steven Isserlis, for his noble expression and firm control, on BMG/RCA Red Seal (82876-65845-2). Using different orchestras and conductors Isserlis recorded the Cello Concerto No. 1 in 1992 with the London Symphony Orchestra under Michael Tilson Thomas and the Concerto No. 2 in 1999 with NDR Sinfonieorchester under Christoph Eschenbach. The same version from Isserlis of the A minor is also available on a separate disc on RCA Victor Red Seal, with a different coupling, of other Saint-Saëns scores with cello (09026-61678-2). Another recent version of the two Cello Concertos that I have enjoyed for the beautiful playing and considerable assurance is from Jamie Walton and the Philharmonia Orchestra under Alex Briger on Quartz (QTZ2039). Although rather eclipsed by the general quality of the rival versions cellist Maria Kliegel plays both Concertos with expression and commitment with the Bournemouth Sinfonietta under Jean-François Monnard for Naxos (8.553039).
Early last year I was entranced by the freshness of the sensitive and characterful artistry of a new recording of the Cello Concerto No. 1 performed by Sol Gabetta with the Münchner Rundfunkorchester under Ari Rasilainen on BMG/RCA Red Seal.
On the evidence of this disc Moser’s is a name to watch and his future success seems guaranteed. Displaying a secure technique and rich timbre this charismatic artist, in these delightful interpretations, expertly mixes a generous palette of tone colours. Particularly impressive is the iron grip that he exercises over the proceedings. I experienced these bold performances as a fruitful emotional encounter with Saint-Saëns’s richly appealing music. I have never heard the Radio Sinfonieorchester Stuttgart des SWR under the assured direction of Fabrice Bollon in finer form. Their sensitive, yet robust accompaniment is of the highest quality.
The Hänssler engineers have provided a warm and clear sound. In the booklet notes there is an interesting interview with the soloist but as is often the case a little more information about the actual works would have been helpful. For example we are not informed in every case who made the arrangements. Received too late for one of my ‘2008 Records of the Year’ this Hänssler disc from Johannes Moser is the first of my selections for 2009.
Michael Cookson
Buying this recording via the link below generates revenue for MWI, which helps the site remain free
