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Wen-Sinn Yang & Grzegorz Nowak - Dvorák: Complete Works for Cello and Orchestra (2006)

Wen-Sinn Yang & Grzegorz Nowak - Dvorák: Complete Works for Cello and Orchestra (2006)
  • Title: Dvorák: Complete Works for Cello and Orchestra
  • Year Of Release: 2006
  • Label: Arts Productions Ltd
  • Genre: Classical
  • Quality: FLAC (tracks)
  • Total Time: 59:13
  • Total Size: 220 MB
  • WebSite:
Tracklist:

1. Sinfonica Helvetica, Wen-Sinn Yang & Grzegorz Nowak – Concerto For Cello And Orchestra In B Minor B 191 Op. 104: I. Allegro (15:01)
2. Sinfonica Helvetica, Wen-Sinn Yang & Grzegorz Nowak – Concerto For Cello And Orchestra In B Minor B 191 Op. 104: II. Adagio Ma Non Troppo (11:03)
3. Sinfonica Helvetica, Wen-Sinn Yang & Grzegorz Nowak – Concerto For Cello And Orchestra In B Minor B 191 Op. 104: III. Finale: Allegro Moderato (12:20)
4. Sinfonica Helvetica, Wen-Sinn Yang & Grzegorz Nowak – Polonaise In A Major B 94 (07:52)
5. Deutsches Kammerorchester, Wen-Sinn Yang & Grzegorz Nowak – Silent Woods B 182 (Op. 68 No. 5) (05:45)
6. Deutsches Kammerorchester, Wen-Sinn Yang & Grzegorz Nowak – Rondo In G Minor B 181 Op. 94 (07:09)

Recorded in 1994 and issued in 2004, this belated CD from Arts presents Dvorák's Cello Concerto in B minor and three transcriptions, the Polonaise in A major, Silent Woods, and the Rondo in G minor. As one of a handful of great cello concertos, Dvorák's masterpiece is the most important work here, yet it is the most disappointing offering on the disc. Not that cellist Win-Sinn Yang can be faulted, for he is clearly an exceptional musician who plays expressively and with technical acumen. For his part, Grezegorz Nowak leads the Sinfonica Helvetica in an honest attempt to support Yang, though his interpretation may be too symphonic in scope and is occasionally too overpowering. But the chief problem comes from the engineering, which is hit-or-miss in this live performance. It is difficult to discern how much was due to problematic acoustics and poor microphone placement, or to adjustments made during the concert or later in mastering, but the uneven sound often minimizes Yang's presence, exaggerates the orchestra, and makes listening a chore. Strangely, the shorter works receive the best sound, perhaps because they call for a narrower dynamic range and invite fewer mishaps than the concerto. Since the recording veers from near inaudibility to extreme loudness, headphones are recommended.

Review by Blair Sanderson


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