In the '60s, Deutsche Grammophon had not one but two of the best recordings of Dvorák's Cello Concerto available: the Rostropovich/Karajan and the Fournier/Szell. The Rostropovich/Karajan matched an immensely subjective soloist with a smoothly polished conductor. The Fournier/Szell, this one recorded in 1962, matched a smoothly passionate soloist with a smoothly polished conductor. Pierre Fournier brought his impeccable technique, his refined tone, and his ardent interpretations to bear on the solo part, while Szell brought ...
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In the '60s, Deutsche Grammophon had not one but two of the best recordings of Dvorák's Cello Concerto available: the Rostropovich/Karajan and the Fournier/Szell. The Rostropovich/Karajan matched an immensely subjective soloist with a smoothly polished conductor. The Fournier/Szell, this one recorded in 1962, matched a smoothly passionate soloist with a smoothly polished conductor. Pierre Fournier brought his impeccable technique, his refined tone, and his ardent interpretations to bear on the solo part, while Szell brought his flawless technique, his unwavering intensity, and his objective interpretations to bear on the Berlin Philharmonic -- and the combination proved incandescent. Fournier's playing is enormously persuasive, particularly in the central Adagio ma non troppo, while Szell's conducting is both supportive and challenging: listen to him urge Fournier into the climax of the opening Allegro's development. Oddly disappointing is the playing of the Berlin Philharmonic. For one of Europe's...
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