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Editorial Reviews

This isn't the Jacqueline du Pré recording of Elgar's "Cello Concerto." The du Pré recording of Elgar's "Cello Concerto" is the 1965 studio recording with John Barbirolli conducting the London Symphony Orchestra. This is du Pré's 1970 live recording with Daniel Barenboim conducting the Philadelphia Orchestra. What, aside from five years, is the difference? First, the Philadelphia, while at the time one of the best of American orchestras, was still an American orchestra and not an English orchestra, and thus, not raised with the idea that Elgar was one of the great fin-de-siècle composers. So, for all the professionalism of its playing, the musicians don't seem to believe in the music with the same patriotic fervor as the London Symphony players. Second, Daniel Barenboim, while at the time one of the better young pianists in the world, was still only a barely competent conductor, so, for all the dedication of his performance, he was just able to get through the music. Third and most importantly, du Pré, while at the time one of the greatest living cellists, was starting to slip technically, and while her performance here is full of heart and soul, her playing is touched with intimations of mortality. Thus, while this is, from a personal point of view, a deeply touching performance, it is, from an aesthetic point of view, something of a letdown. For those who love du Pré's 1965 Elgar concerto, this will be an affecting reminder of the greatness of her art. For everybody else, stick with the 1965 recording. The rest of the Elgar performances on this disc -- two Pomp and Circumstances Marches plus the "Enigma Variations" -- feature the young Barenboim leading the London Philharmonic and are irredeemably inferior. James Leonard, All Music Guide

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