As a solo bassist you have to take care of your own concert literature yourself. An insight that the famous cellist Giovanni Bottesini (1821-1899) – Italian double bass player, composer and conductor – quickly translated into action. A wealth of works, small chamber music jewels to concerts and veritable Bravour pieces includes his catalog, to the soloists like to grab.
Two experts from the Berliners
Now Ödön Rácz, concertmaster of the Berliner Philharmoniker and his colleague from the first row of the orchestra, the violinist Noah-Bendix Balgley, took the lively, thought-provoking "Gran Duo Concertante". And that does not sound like intimate meditations but more like a dance of two solo instruments that want to know.
They describe the love and disappointment with empathic splendor and dancing imagination. Lustful result: a good quarter of an hour full of brilliant string playing. More than just the two are supported by the experienced Franz Liszt Chamber Orchestra (founded in 1963), that under the guidance of the Roman conductor is only too happy to be seduced to this little dance.
Empathic splendor by the Roman conductor
The influence of modern tango music Astor Piazzolla came from jazz, but also fromand , Everything, just no folklore. Ödön Racz's intonation, his flexible playing and latent swing should have pleased Piazzolla, especially in contrast to the classically influenced Franz Liszt Chamber Orchestra.
Totally different pieces
The often-sworn friction of cultures, here they succeed not only as a spice, but as friction. Britain's most important composer of the last century, Benjamin Britten (1913-1976), left behind a wide-ranging work, which also includes three completely different cello suites.
True to his example, Britten has cut many aspects of his oeuvre to pieces, representing both the possibilities of the instrument and its innovative power.
Tango very different
After all, Britten's composer colleague welcomedit was one of the biggest events of the "Little Form" in the 20th century. Her dedication is to the great cellist although this is not 100% proven. At least there is a significant interpretation of the first two suites.
In keeping with Rostropovich's temperament and technical brilliance, the young Russian cellist Alexander Ramm (born in 1988) has taken on exactly this third party. His recording unites the composed cheerfulness with the contrasting seriousness, the "light" with the meditative moments and captivates the special of this suite through its powerfully sensitive tone. Of course he also played the first two suites on this CD, which makes the Rostropovich comparison even more appealing.