◎片中一同演出的大提琴家Boettcher是甘德朗（Maurice Gendron）与梅纳第（Enrico Mainaridi）二位大提琴巨擘弟子，22岁即成为卡拉扬麾下柏林爱乐大提琴首席
海顿最负盛名的C大调大提琴协奏曲，咸认为题献给海顿密友Joseph Weigl，此曲在尘封近二个世纪后的1961年，於布拉格国立博物馆被音乐学者Oldrich Pulkert发现，炫技依旧是写作重点，然而以弦乐群组成的第二乐章，由大提琴自由吟唱，也显得格外甜腻而优美。
而对於长笛音色颇有微词的莫札特，却也受託为该乐器写下了二首长笛协奏曲，只不过第二号D大调直接拿双簧管协奏曲改编而成，第三乐章的主题更是再次延用於歌剧《后宫诱逃》中。到了二十世纪，曾追随作曲家雷格（Max Reger）学习的大指挥家乔治．塞尔（George Szell），将此曲改编给大提琴与管弦乐演奏，塞尔的改编纪录不只如此，他也曾将史麦塔纳第一号弦乐四重奏《我的一生》改编给管弦乐来演奏。
当今红得发烫的甜姐儿－修儿．嘉碧妲，已然是古典乐坛最受欢迎的大提琴名家，手持1759年的瓜达尼尼（Guadagnini）名琴，以天才式的口吻，在这三首乐曲上展现出高雅的气质和优美的歌唱性，技巧与完成度与日俱进，是一场綺丽无比的音乐盛宴。曾为甘德朗（Maurice Gendron）与梅纳第（Enrico Mainaridi）二位大提琴巨擘弟子，22岁即成为卡拉扬麾下柏林爱乐大提琴首席的Wolfgang Boettcher，与嘉碧妲轮替搭配演出，两人间的合作完全不露凿斧，与巴塞尔室内古乐团间的呼吸一致，已臻合奏之最高境界。
Published on February 17, 2010
HOFMANN: Cello Concerto in D Major; HAYDN: Cello Concerto No. 1 in C Major; MOZART: Concerto in D for Cello and Orchestra, K. 314 (arr. Flute Concerto) – Sol Gabetta, cello/ Kammerorchester Basel/Sergio Ciomei – RCA
HOFMANN: Cello Concerto in D Major; HAYDN: Cello Concerto No. 1 in C Major; MOZART: Concerto in D for Cello and Orchestra, K. 314 (arr. Flute Concerto) – Sol Gabetta, cello/ Kammerorchester Basel/Sergio Ciomei – RCA 88697547812, 68:54 ****
Argentine cello virtuoso Sol Gabetta (b. 1981) extends her already phenomenal reputation with this latest inscription, which includes a musical rarity or two: the D Major Concerto by Leopold Hofmann (c. 1762), and the arrangement by conductors George Szell and Sergio Ciomei of Mozart’s K. 314 as a cello concerto, a form in which the composer himself never indulged. The Concerto in D by Haydn’s contemporary Hofmann (1738-1793) takes its cue from the success of Luigi Boccherini, who aimed at a more emotional direct style that fused galant “correctness” with a capacity for a singing cantabile expressivity.
Hofmann came to this concerto by way of his training in Viennese choral music who transferred his vocal aptitude to the instrumental string style. The first movement Allegro moderato exploits a series of layered melodies and dotted rhythm that sigh above a strummed accompaniment in the manner of C.P.E. Bach’s “emotional” school. The close microphone captures Gabetta’s fingering as she plies her 1759 G.B. Guadagnini cello, a tawny sound that luxuriates in the middle register. The Adagio conforms closely to the Boccherini model, in which the solo part emerges subtlety from the ensemble, a technique Mozart would apply in his Sinfonia Concertante, K. 364. The cadenza offers some unique harmonies before returning to the formulaic closure with the larger ensemble. The last movement, Allegro molto, dashes forward with an energy we know from Vivaldi, but also from inflamed Haydn. Once again, the cello part hurtles forward from the mass of instruments to assume its central part in the heady mix. Some deft work in the high flute register of the cello makes some bravura points along the way.
Ever since its discovery in 1961, the Haydn C Major Concerto (c. 1763) has assumed pride of place, beyond the more conservative cast of the ubiquitous D Major Concerto. The elegantly swaggering nature of the opening motif, its essential confidence of expression mixed with its lyrical second subject, forever captures one’s musical fancy. Gabetta’s high-flown tone and light bow, alternating bowed and bounced notes, quite propels us forward. Ciomei’s contribution of diaphanous ensemble and harpsichord continuo makes an appealing context in the “authentic” mode. The Adagio, a beautifully crafted interweaving of two distinct musical ideas, remains the emotional crux of the concerto in which Gabetta can indulge in a cantabile dialogue with the orchestra. The last movement Allegro molto runs through our blood in bubbly effervescent perpetual motion, Gabetta either buzzing or sailing in agile swoops, her Guadagnini airborne.
Certainly Gabetta makes a strong case for the cello transcription of Mozart’s 1777 Flute Concerto, insofar as the figures fall gratefully within the cello’s natural range and expressive voices. Transcriber George Szell (first and third movements) went to scholar Alfred Einstein for “moral support,” basing his impulse on Mozart’s own prior transposition of his oboe concerto for flute purposes. The second movement Andante ma non troppo comes to us now via conductor Ciomei, who having studied the Oboe Concerto, made his adjustments from its middle movement. The resultant serenade now sounds as if Don Giovanni were musing beneath a starry sky. The martial Allegro that concludes the work–the oboe and harpsichord supporting the lithe cello–proves as infectious as its original, and its light heart makes the transition that much more natural.
“…lovely performances from a cellist who combines a winningly smooth cantabile with a focused light tone and incisive rhythmic precision. The Basle Chamber Orchestra gives support which is handsomely coloured and stylishly clean-lined… making them a good match for their soloist and helping to create a happy overall impression of talented young artists having fun together and avoiding the routine.”
Performer: Sol Gabetta
Orchestra: Kammerorchester Basel
Conductor: Sergio Ciomei
Composer: Wolfgang Amadeus Mozart, Joseph Haydn, Leopold Hofmann
Audio CD (January 26, 2010)
01. Cello Concerto in D major, Badley D3/I. Allegro moderato
02. Cello Concerto in D major, Badley D3/II. Adagio un poco Andante
03. Cello Concerto in D major, Badley D3/III. Allegro molto
04. Cello Concerto No. 1 in C major, H. 7b/1/I. Moderato
05. Cello Concerto No. 1 in C major, H. 7b/1/II. Adagio
06. Cello Concerto No. 1 in C major, H. 7b/1/III. Allegro molto
07. Flute Concerto No. 2 in D major, K. 314, adapted for Cello and Orchestra/I. Allegro aperto
08. Flute Concerto No. 2 in D major, K. 314, adapted for Cello and Orchestra/II. Andante ma non troppo
09. Flute Concerto No. 2 in D major, K. 314, adapted for Cello and Orchestra/III. Allegro