Elgar & Walton: Cello Concertos

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The Walton… is distinctive, not least because the Oslo Philharmonic under Previn is on cracking form. This subtly playful, sun-lit work is fiendishly difficult and requires just the sort of... — BBC Music Magazine, July 2006, 4 out of 5 stars More…

Release Date: 5th Jun 2006
Catalogue No: C621061
Label: Orfeo
Length: 59 minutes

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Elgar: Cello Concerto in E minor, Op. 85

Work length29:31

$7.00

$9.05

Daniel Müller-Schott
Oslo-Filharmonien
André Previn

I. Adagio - Moderato

Track length8:14

$2.00

$2.60

II. Lento - Allegro molto

Track length4:37

$1.00

$1.30

III. Adagio

Track length4:48

$1.00

$1.30

IV. Allegro - Moderato - Allegro ma non troppo

Track length11:52

$3.00

$3.85

Walton: Cello Concerto

Work length29:54

$8.00

$10.40

Daniel Müller-Schott
Oslo-Filharmonien
André Previn

I. Moderato

Track length8:23

$2.00

$2.60

II. Allegro appassionato

Track length6:42

$1.00

$1.30

IIIa. Lento - Con moto

Track length4:22

$1.00

$1.30

IIIb. Risoluto tempo giusto

Track length1:50

$1.00

$1.30

IIIc. Interlude. Allegro molto

Track length1:12

$1.00

$1.30

IIId. Rapsodicamente

Track length7:25

$2.00

$2.60

Reviews
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Reviews

July 2006

The Walton… is distinctive, not least because the Oslo Philharmonic under Previn is on cracking form. This subtly playful, sun-lit work is fiendishly difficult and requires just the sort of powerful virtuosity Müller-Schott displays.

2010

The Elgar and Walton cello concertos make a perfect coupling and this is the second time André Previn has conducted the pairing on disc.
The first, some 20 years ago, had Yo-Yo Ma, still near the beginning of his career, and the LSO.
Here he's with the young German cellist Daniel Müller-Schott and his own Oslo Philharmonic in an equally idiomatic reading.
Significantly, Müller-Schott writes his own booklet-notes, demonstrating his warm affection and understanding of both works. It is the passion of his playing that strikes home immediately – he uses a wider vibrato than Ma, and rather freer, less inhibited phrasing. That passion comes over not only in the slower music of the Elgar but also in the seemingly hesitating introduction to the second-movement Scherzo; and where Ma's reading of the slow movement is marked by refinement and nobility, Müller- Schott's is weightier. Similarly, in the central Scherzo of the Walton, where Ma is very fast and volatile, Müller-Schott is heavier-handed, though without losing the piece's sparkle.
The solo cello is balanced very far forward so that at the start of the Walton its sound obscures the subtle detail in the orchestration. That said, there is everything to enjoy in performances that are uninhibited, bringing out the warmth of both pieces. Many will forgive the odd balance when the performances are so convincing, even if Müller-Schott is not quite so imaginative or individual in his phrasing as Ma.

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