Jacqueline du Pre - Favourite Cello Concertos ~ Boccherini, Dvorak, Elgar, Haydn, Monn, Saint-Saens, Schumann

During her far-too-brief career, cellist Jacqueline du Pr? exhibited an almost oracular power of communication. Her performances bristled with the kind of brilliant electricity that could change lives and convert listeners to a lifelong love of music. Happily, it's possible to experience a sense of that power from the recordings du Pr? completed before multiple sclerosis halted her career as a performer in the early 1970s. This set provides a splendid portrait--at bargain price--of du Pr?'s unmistakable personality: the astonishingly original yet convincing phrasing, raw energy, and ability to make her instrument sound uncannily like a human voice (du Pr? was after all a favored student of Mstislav Rostropovich). Her rendition of Haydn's Concerto in C is clearly cast in a romantic--and nowadays perhaps unfashionable--mold, yet du Pr?'s big, bold tone carries the musical line forward with exhilarating presence. It's a demeanor that proves especially reassuring for the quirkily mercurial inventions of Boccherini. Yet du Pr? most indelibly leaves her signature on the work that became her hallmark, Edward Elgar's E Minor Concerto, grafting a deeply personal level of expression onto the score's rich post-World War I melancholy. In the Schumann, du Pr? makes an eloquently passionate protagonist. A similar sense of excitement is to be heard in Dvor?k's Concerto--performed near the end of her career--above all in the flame of inspiration she evidently sparks from the orchestra in the serene close of its slow movement. This is a supremely rewarding collection for the beginner and aficionado alike. --Thomas May

During her far-too-brief career, cellist Jacqueline du Pr? exhibited an almost oracular power of communication. Her performances bristled with the kind of brilliant electricity that could change lives and convert listeners to a lifelong love of music. Happily, it's possible to experience a sense of that power from the recordings du Pr? completed before multiple sclerosis halted her career as a performer in the early 1970s. This set provides a splendid portrait--at bargain price--of du Pr?'s unmistakable personality: the astonishingly original yet convincing phrasing, raw energy, and ability to make her instrument sound uncannily like a human voice (du Pr? was after all a favored student of Mstislav Rostropovich). Her rendition of Haydn's Concerto in C is clearly cast in a romantic--and nowadays perhaps unfashionable--mold, yet du Pr?'s big, bold tone carries the musical line forward with exhilarating presence. It's a demeanor that proves especially reassuring for the quirkily mercurial inventions of Boccherini. Yet du Pr? most indelibly leaves her signature on the work that became her hallmark, Edward Elgar's E Minor Concerto, grafting a deeply personal level of expression onto the score's rich post-World War I melancholy. In the Schumann, du Pr? makes an eloquently passionate protagonist. A similar sense of excitement is to be heard in Dvor?k's Concerto--performed near the end of her career--above all in the flame of inspiration she evidently sparks from the orchestra in the serene close of its slow movement. This is a supremely rewarding collection for the beginner and aficionado alike. --Thomas May

During her far-too-brief career, cellist Jacqueline du Pr? exhibited an almost oracular power of communication. Her performances bristled with the kind of brilliant electricity that could change lives and convert listeners to a lifelong love of music. Happily, it's possible to experience a sense of that power from the recordings du Pr? completed before multiple sclerosis halted her career as a performer in the early 1970s. This set provides a splendid portrait--at bargain price--of du Pr?'s unmistakable personality: the astonishingly original yet convincing phrasing, raw energy, and ability to make her instrument sound uncannily like a human voice (du Pr? was after all a favored student of Mstislav Rostropovich). Her rendition of Haydn's Concerto in C is clearly cast in a romantic--and nowadays perhaps unfashionable--mold, yet du Pr?'s big, bold tone carries the musical line forward with exhilarating presence. It's a demeanor that proves especially reassuring for the quirkily mercurial inventions of Boccherini. Yet du Pr? most indelibly leaves her signature on the work that became her hallmark, Edward Elgar's E Minor Concerto, grafting a deeply personal level of expression onto the score's rich post-World War I melancholy. In the Schumann, du Pr? makes an eloquently passionate protagonist. A similar sense of excitement is to be heard in Dvor?k's Concerto--performed near the end of her career--above all in the flame of inspiration she evidently sparks from the orchestra in the serene close of its slow movement. This is a supremely rewarding collection for the beginner and aficionado alike. --Thomas May

  more