YO-YO MA PLAYS CELLOS MASTERWO

R E V I E W S of some of the recordings that make up this set:

Walton and Elgar:

...these performances by Yo-Yo Ma with the London Symphony Orchestra under André Previn are superb. In the enigmatic Walton work, Ma’s cerebral account comes closer in atmosphere to Gregor Piatigorsky’s premiere recording than any other I know. Hear how Ma floats the high-flown solo lines at the start, closely matching the airiness that Piatigorsky produced by using only the required amount of bow pressure (both performers use tight, rapid vibrato)–yet the intensity of sound is totally idiomatic... Ma’s performance of the Elgar concerto is again superb, both in its controlled dignity and in its spacious eloquence. The big gestures are all there, with a powerfully arresting opening flourish and tellingly graded handling of the meandering first theme. Ma also is highly alert to dynamic indications, so practically no two measures of the recitative passage before the Scherzo sound the same, just as Elgar intended. The clarity and precision in the Scherzo are pretty astounding, too, and all the while Previn’s accompaniments are ideally measured and controlled. In the Adagio, Ma’s sostenuto playing and simple, unaffected style lets the music make its own point. Technically, the whole performance is faultless (Du Pré’s famous heart-tugging interpretation with Barbirolli certainly isn’t), though Steven Isserlis (with the LSO and Hickox) on Virgin is sometimes more subtle and interesting, especially in his treatment of the final page’s flashbacks, where you hardly dare draw breath as the Adagio’s theme returns. Sony’s recording is in the demonstration category, however, and with Previn’s distinguished support throughout, this is the one to go for. -- Classics Today [review of SONY 89712]

Vivaldi:

A few years back, Yo-Yo Ma took the endpin out of his 1712 Stradivarius cello, put a on a new bridge and gut strings, got himself one of those funny baroque bows, and lent the historical performance movement real mainstream credibility. After the success of those "Simply Baroque" recordings, he has teamed up again with conductor Ton Koopman and his Amsterdam Baroque Orchestra, this time for a collection of all Vivaldi. What difference does all this monkeying with the instruments mean to the listener? You get your answer in first few seconds of the CD when Ma and fellow cellist Jonathan Manson team up in the Vivaldi's g minor concerto for two cellos; the tone is softer, somehow purer and warmer, evanescent almost, and the articulation is clean and nimble. Even the selection of music for the collection is in the catholic and thrifty spirit of Vivaldi and his contemporaries; in addition to music originally for cello, Koopman and Ma have arranged many Vivaldi favorites for the cello, including opera arias, the "Laudamus Te" duet from the Gloria, even a section of "Winter" from the Four Seasons. Vivaldi's Cello is a splendid collection, Ma's playing is characteristically gorgeous, and the sounds are warm and collegial. A desert island disk for the baroque lover.-- David Simmons, WQXR [review of SONY 90916, Vivaldi's Cello]

Boccherini:

the main attraction of the current offering is the Boccherini concerto, which receives a masterful reading—elegant and eloquent—from cellist Ma. Zukerman provides distinguished support in his twin roles as partner (in the Sinfonia concertante) and conductor; the Saint Paul Chamber Orchestra is, as expected, absolutely first-rate, and CBS' sound is warm and full. I've been humming themes from the Boccherini concerto for days. Heartily recommended. -- George Chien, FANFARE

Schumann:

In the Cello Concerto Yo-Yo Ma's playing is characteristically refined, but keenly affectionate too... both he and Sir Colin Davis are thoroughly attuned to the sensibility of this composer and the recording balance is excellent. -- -- Penguin Guide [review of Sony 89716]

Bach:

Yo-Yo Ma's playing has a characteristic rhythmic freedom and favours the widest range of dynamic. The improvisatory effect is seemingly spontaneous and these performances are very compelling indeed, for Ma seems right inside every bar of the music. The first-class recording is very real and natural... -- Penguin Guide [review of Sony 89754]