Young cellist Han-Na Chang, Korean-born and trained in the U.S. by Mstislav Rostropovich, is a newcomer to Baroque music, having released a mixture of cello classics and late-Romantic and contemporary concertos up to this time. Here she delivers a set of seven Vivaldi cello concertos that Rostropovich himself might have helped her shape; it's something of a throwback to the way Vivaldi was played 30 or 40 years ago.
Seemingly on an impulse, Robert Schumann wrote his Cello Concerto in A minor, Op. 129, during two weeks in 1850, heading towards the last years of lucidity and life. Schumann may never have heard it played as the concerto did not premiere until seven months after his death. On this disc we have the opportunity of hearing not only the Cello Concerto but three other pieces written for cello and piano, the Adagio and Allegro perhaps being the most well known..
Édouard Lalo made his mark on French music with his opera Le Roi d’Ys, but his instrumental output also has considerable historical importance, with its resolutely innovative aims for its time. More specifically, his concertante music rewards the attentive ear with a brilliant, skilfully constructed style, studded with fresh rhythmic and harmonic inventions that renew the melodic and orchestral language of the genre.
The Most Relaxing Cello Album is programmed to help calm the mind, body and spirit. The wide expressive range of the cello enables the player to conjure every emotion, but the instrument is particularly suited for creating a mood of relaxation and tranquility.
In the '80s there were those listeners who thought that Heinrich Schiff might redeem cello performance practice from fatal beauty and lethal elegance. Aside from the burly and brawny Rostropovich, more and more cellists were advocating a performance style whose ideals were perfect intonation and graceful phrasing. In some repertoire, say, Fauré, these are perfectly legitimate goals. In other repertoire, Beethoven and Brahms, say, it is a terrible mistake. In Bach's Cello Suites, as the fay and fragile Yo-Yo Ma recordings make clear, it was a terminal mistake. Not so in Schiff's magnificently muscular 1984 recordings of the suites: Schiff's rhythms, his tempos, his tone, his intonation, and especially his interpretations were anything but fay or fragile. In Schiff's performance, Bach's Cello Suites are not the neurasthenic music of a composer supine with dread and despair in the dark midnight of the soul, but the forceful music of a mature composer in full control of himself and his music.
"…As far as sound goes, it's the best I've heard from Living Stereo and perhaps the best I've heard from my stereo period! The soloist to orchestra balance is just about perfectly even, which means the orchestra is considered an equal part by the engineers. I prefer that to the "I'm ready for my closeup now Mr De Mille" balance used by most producers in order to highlight the "STAR"." ~sa-cd.net