Several transfers
exist of these recordings,
the most readily available being the EMI References release, but
this latest one by Mark Obert-Thorne are easily the best, the
sound quality of the recordings belying their age. The Dvorak
cello concerto, previously coupled with the Elgar, also featuring
Pablo Casals, and the Bruch Kol Nidrei, released by Naxos on the
third volume of transcriptions and encores by Casals and reviewed
here, had extremely good
engineering for its time. The sound quality of the Brahms is
strident and less detailed in comparison but the performance is
reward in itself for the persevering collector.
The performances themselves are classics of the gramophone.
Brahms' double concerto for violin, cello and orchestra is a work
that can come off imbalanced; it takes something special to
balance the triumvirate. Heifetz and Piatigorsky had that special
connection while playing, so did Oistrakh and Rostropovich. It
goes without saying that Casals and Thibaud had it too, but what
completes the circle is the presence of Alfred Cortot on the
podium.
Cortot was a conductor of no little talent, a facet of him
that was obscured by his far greater fame as a pianist. He coaxes
the Pablo Casals Orchestra of Barcelona into an invigourating
accompaniment, setting the framework for the chamber music-like
performance between the two soloists. His approach to conducting
is sensitive to the protagonists and flexible in terms of tempi and
dynamics.
The cellist's solo cadenza at the start is an eloquent marvel in
phrasing in itself, establishing himself firmly from the outset.
The ensuing double cadenza sets the tone for the
rest of the concerto.
A performance of the Brahms double can either play up on the
contrasts between the soloists or emphasize their similarities.
Here Jacques Thibaud's refined tone acts as a foil to Pablo Casals'
rough-and-ready playing and together they create a unique drama,
the duo playing off each other conversationally. Their ensemble is impeccable while maintaining individual
character in their contributions. A strong sense of structure and
logic informs this performance of the concerto; the result is a
totally absorbing account of the first movement, a problematic
one
that in other's interpretations sometimes comes off as rambling.
The second movement is beautifully rendered, though it may be a
little old-fashioned sounding for some tastes. Thibaud's
ingratiating playing is full of little slides, which may put some
off, but it is so tastefully done. Casals and Thibaud play
hand-in-glove in this movement, each moderating his tone to match
the other's. And despite all
the distortion that even Mark Obert-Thorne couldn't get rid of,
how beautiful the orchestra sounds. Cortot's conducting is suave and involved, cushioning the
proceedings. The total effect one is left with is something more
of a sweet nostalgia shared by a couple who have been through much
together than the general blanket "autumnal" description given to
Brahms' music.
The finale is a veritable feu d'joie. Casals' tone
comes off sounding better here than Thibaud, which can sound wiry
(certainly no fault of his). The protagonists make less of a meal
of the "gypsy" character of the music than most others, but it is by no
means any less riveting for that. I love how
naturally the music breathes. Casals and Thibaud are not without
their moments of insecure intonation, but when they sing
together in the romantic tunes that this permeate this last movement,
like a tenor and his soprano, all is forgiven. What a pity
that recording technology was still in its developing stages then.
Some degree of surface noise is still present in the Dvorak, but
the ear quickly adapts; the sound is eminently listenable. The
interpretation on the other hand...! Few have surpassed Szell and
the Czech Philharmonic Orchestra in their sensitive reading of
this music which courses through their blood (though for a searingly exciting performance one should certainly check out
Pierre Fournier, "live" with Hermann Scherchen). They certainly
don't go out of their way to make major "statements" with the
music unlike several "big name" conductors since, and therein lies
the beauty of it - no wallowing in the big tunes here. What comes
across so vividly is the honesty and sincerity of the music-making
and Casals' poetic and eloquent performance of the solo part. So
many recordings have been made of the concerto since, but the fact
that this recording still has something to offer speaks volumes.
This disc is well worth
the asking price and no-one vaguely in these stellar
performers, or this repertoire should hesitate.
Three cheers to Obert-Thorne for these brand-new transfers and
to Naxos for putting out the disc so inexpensively.
