Though written barely 20 years apart, Dvorák's Cello Concerto and Tchaikovsky Rococo Variations draw their inspiration from two entirely different epochs. Dvorák's lush, Romantic concerto has hints of Czech motherland and even adaptations of his own previous works. The accompaniment is densely scored with tutti sections that could easily be right out of one of his symphonies.
Gerd Albrecht was a leading German conductor. He was best known for his interpretations of late Romantic and 20th century German repertory. His father was Hans Albrecht (1902-1961), a well-known musicologist. He was a choral scholar at the age of 15 and began conducting when he was 16. He studied at the Hamburg Musikhochschule (Hamburg Music Academy) from 1955 to 1958.
András Schiff is one of the most prominent members of a generation of Hungarian pianists born in the years following the Second World War, along with such artists as Zoltán Kocsis, Dezsö Ránki, and Jenö Jandó. Of this remarkable group, Schiff has achieved the greatest international reputation, due not only to his decision to pursue his career outside of Hungary, but also thanks to his finely shaded sense of touch and an impressive memory that allows him to present, in concerts and recordings, large portions of a composer's oeuvre.
On one end of the continuum, there is Dvorák's Concerto in B minor for cello and orchestra, a composition that is among the composer's best known and has become a cornerstone of the instrument's repertoire. On the other end, the Piano Concerto in G minor, a work that had difficulty garnering acceptance even during the composer's lifetime and is still looked upon with less favor than other concertos written in the same period.
The Goldmark A minor Concerto inspired what was surely Nathan Milstein's finest hour in the recording studio, a reading of the utmost refinement: warm, effortlessly brilliant and displaying that unmistakably suave, silken tone. The work itself which is perhaps just a trifle overlong recalls both Reger and Dvorak, with wistful melodies, lilting rhythms and much busy counterpoint (principally in the outer movements).
These head notes take some explaining. Leave Me Alone is presented twice: the original song, sung by Angelika Kirchschlager, plus a version for cello and piano played by Jan Vogler. In the op. 55 Gypsy Songs, she sings Nos. 2, 5, and 6, while he plays the other four. Ms Kirchschlager sings both Stephen Foster ballads; Wilt Thou Be Gone, Love? includes a cello solo, as well. Pianist Helmut Deutsch accompanies it all.