"Cello Concerto in B minor/ Silent Woods":

Dvorak. Jacqueline du Pre, cello; Chicago Symphony Orchestra conducted by Daniel Barenboim (WRC).

"Violin Concerto, op. 61":

Beethoven.

"Romance, Reverie & Caprice":

Berlioz. Joseph Szigeti, violin, British Symphony Orchestra conducted by Bruno Walter; Philharmonic Orchestra conducted by Constant Lambert (WRC). Reviewed by Felix Manskleid.

It is said that Dvorak never considered the cello as a solo instrument until he heard Victor Herbert (who was not only a composer, but also a well-known cellist) in one of his own compositions at a N.Y. Philharmonic concert in the spring of 1894. This prompted Dvorak to write this Cello Concerto, the last major work produced by the composer during his stay in America (1892-1895), the first one being "The New World Symphony", his most popular. The music is easily recognisable as coming from his hand, especially in the handling of the expressive melodies and countermelodies and themes, some sprightly, some reflective. Also the Finale opens in typically Bohemian fashion with full orchestra. "Silent Woods" is the fifth and sixth pieces originally written for piano duct under the title of "From the Bohemian Woods" in 1884 and arranged nine years later for cello and orchestra. The mood is langourous, half Lisztiann, half Schumanesque. The performance in both works is top notch as one could expect from this famous husband and wife team, plus the addition of one of the highest rated symphony orchestras in the world.

These Szigeti recordings date back to 1932 and 1946 respectively and belong to the "Connoisseur Scries", a distinguished selection of re-recorded concert repertory made by world-famous artists years ago and now available on LP's. At the time he recorded the "Beethoven Concerto", Szigeti admitted that this was possibly the greatest challenge he ever faced. With the 1927 centenary of the composer's death and the unavoidable excesses of the many routine Beethoven performances in its wake, he was greatly critical of himself and strived for perfection. He was rewarded in being able to record the Concerto with no less a master than Bruno Walter himself. As for the "Reverie & Caprice", a comparatively unknown work, it was a friend of Szigeti who urged him to play it and when it was recorded in 1946, it was considered a premiere in the history of the gramophone. Since then, a number of famous ensembles have performed the work.