“ Why on earth didn't I know one could write
a cello concerto like this? If I'd only known, I'd have written
one long ago!” This remark, attributed to Brahms late in his
life, referred to Dvořák's cello concerto. Since its premiere
in 1896, it has occupied an essentially uncontested first place
in the cello concerto repertoire, and has been essential playing
and recording for anybody who hopes to make their mark as a
cello soloist.
Enter
Nina Kotova. Paul Shoemaker (see review)
claims that “Nina Kotova is the most beautiful cellist in
the world, and, simply, she is also the finest cellist I
have ever heard.” I'll let the first claim stand; the second,
however, from my perspective, is not borne out by this particular
Dvořák performance. There's nothing wrong with
it - it is simply middle-of-the-road, soft-edged, and uninvolving
throughout. It is a competent performance that never catches
fire. The soloist and orchestra work hand-in-glove; they
sound like one instrument. While an impressive feat, and
part of what Dvořák sought in his composition, it may
also be part of the problem: not enough contrast to stake
out the drama. Kotova, Litton, and the Philharmonia would
lead one to believe this is an easy-going, low-key piece.
My favorite modern
recording is a bit off the beaten path: Frans Helmerson's with
Neeme Järvi and the Gothenburg Symphony (BIS CD-245). Soloist
and orchestra work together, or off one another, as needed,
to maintain tension, dynamic contrast, and the narrative long-line,
making for a far more gripping, compelling experience than
Kotova provides. One could build a small library of worthy
older recordings. The top of my list is Pierre Fournier, who
in a recent box set has been styled “aristocrat of the cello”.
Both this set (Deutsche Grammophon 477 593-9) and the budget
single CD (429 155-2) have his recording with the Berlin Philharmonic
and George Szell.
The “Serenade in
D minor for Winds, Cello, and Double Bass”, the longer version
of its name, fares considerably better here. Perhaps Kotova
and the other performers feel more comfortable with the chamber-like
scale and equality of interaction. Or maybe the lighter, dancing
textures that draw upon Mozart. Whatever the reason, there
is energy and dynamic contrast here — the performers sound
like they are having fun — things bounce along quite happily.
If this piece were the main attraction of the disc, I would
recommend it. On that basis, and her previous disc linked to
above, which I’ve also enjoyed, Nina Kotova has a lot of potential
and I look forward to hearing more from her. But on the crowded
battleground of the cello concerto, this issue simply cannot
compete.
Brian Burtt
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Nina Kotova
(cello) 
