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Dvorak: Silent Woods, Op. 68, No. 5; Cello Concerto in B Minor, Op.
104. Herbert: Cello Concerto No. 2 in E Minor, Op. 30. James Kreger, cello;
Philharmonia Orchestra, Djong Victorin Yu, conductor. (Guild GMCD 7235)
James Kreger received his bachelor's and master's degrees from Juilliard in
1969 and 1970, and has taught at the School for 25 years. A student of Leonard
Rose and Harvey Shapiro at Juilliard, Kreger also studied with Casals and
Piatigorsky, and was a winner of the 1974 Tchaikovsky Competition in Moscow.
The centenary of Dvorak's death occurs this May 1. Kreger's taping of cello
concertos by Dvorak and Victor Herbert with the Philharmonia Orchestra was
issued in 2002 by Guild. Although Dvorak's Concerto is a repertory staple
while the Herbert is rarely encountered, the two works are actually closely
related. Herbert was a faculty member of the National Conservatory when Dvorak
came to America to become its director. Dvorak attended the 1894 premiere of
Herbert's Second and was inspired to begin writing his own concerto in New
York eight months later.
Kreger's performances are outstanding. His burnished tone is rich and mellow,
his dynamics subtly nuanced and at times daringly hushed. His bowing is
seamless, his intonation irreproachable. Kreger's rhapsodic interpretation of
the Dvorak Concerto is poignant and touching, while Silent Woods
has a rapt inwardness that is mesmerizing. The Philharmonia Orchestra is with
him hand-in-glove, distinguished by dramatic-sounding brasses and ravishing
solo woodwinds.
Kreger has also recorded an expressive reading of Strauss's Don
Quixote in 1994 for Guild (GMCD 7204) with British
violist Roger Benedict. As in the Dvorak/Herbert, the Philharmonia Orchestra
is led by the commanding young Korean conductor Djong Victorin Yu. It is
coupled with a spectacular account of Strauss's great tone poem
Also Sprach Zarathustra.
Lastly, Kreger's effervescent performances of Mendelssohn's complete works for
cello were released on Koch Discover International (DICD 920586). His fluent
pianist is Gerald Robbins. (Though deleted, this CD is available exclusively
from the Juilliard Bookstore.)
Prevailing Winds: Works by Vine, Casella, Guarnieri, Yedidia, Roussel,
Lang, and Kennan. Immanuel Davis, flute; Stephen Gosling, piano. (Overdressed
Late Guy Productions OLGP-245CD)
Immanuel Davis's new recital CD, Prevailing Winds
, presents seven engaging 20th-century works for flute and piano that, for
the most part, have been previously unrecorded. A student of Julius Baker at
Juilliard, Davis received his bachelor's and master's degrees in 1993 and
1995. He is presently on the faculty of the University of Minnesota.
Electing not to play a new instrument, Davis produces a warm tone on a
Boston-made Powell flute dating from 1935, providing a pleasing sonority for
his adroitly performed CD. His appealing program contains music by composers
of varied nationalities. Among them are Sicilienne et Burlesque
, Op. 23 (1914) by Italy's Alfredo Casella; Sonatina (1947) by Brazil's
Camargo Guarnieri; Andante et Scherzo,
Op. 51 (1934) by France's Albert Roussel; and Night Soliloquy
(1936) by the United States's Kent Kennan.
The disc also includes works by three younger composers: Australian Carl
Vine's whirling, avian Sonata (1992); American David Lang's insistent
Vent (1990); and a popular-music-flavored
Arabesque (1983) and Lullaby
(1994) for alto flute by Israeli-born Ronn Yedidia (who holds a doctorate in
composition from Juilliard). The rapid finale of Vine's Sonata, in particular,
inspires the performers to impressive heights of virtuosity.
Davis is sympathetically supported by pianist Stephen Gosling, who received
his bachelor's, master's, and doctoral degrees from Juilliard. The excellent liner notes are by
Juilliard alumnus Bruce Adolphe.Michael Sherwin, marketing manager of the Juilliard Bookstore (bookstore.juilliard.edu), has written for High Fidelity and Musical America.
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