Joseph HAYDN (1732-1809)
Cello Concerto No. 1 in C major Hob VIIb:1 [24:02]
Cello Concerto No. 2 in D major Hob VIIb:2 [24:42]
Minuets Nos. 1, 6, 11 Hob IX:16 [7:18]
The Polish Sinfonia Iuventus Orchestra/Ivan Monighetti (cello)
rec. Witold Lutosławski Studio of Polish Radio, Warsaw, February 2009
DUX 0663 [56:03]
This is not the first time that Ivan Monighetti has recorded the two Haydn
concertos. The first time was on Harmonia Mundi with the Akademie für
Alte Musik of Berlin. I have not heard that version, but it would have to be
very good indeed to match the present disc. The outstanding quality here is
the vivid and individual approach from soloist and orchestra, always alive
to the changing character of the music from bar to bar and note to note. These
are no mere read-throughs, with an orchestra sounding bored with what can be
for them at times somewhat repetitive accompaniments. This is much more a chamber
music approach with the young orchestra - all under thirty - listening and
responding to every turn in the character of the soloist’s part. No performances
that I have heard or taken part in have matched these for their sheer inventiveness
and understanding of the fertility of Haydn’s genius. All of this is
enhanced by Monighetti’s amazing technique, especially in the high passages
in which both concertos abound.
Not everything is perfect. The soloist obviously regards cadenzas as being
an opportunity to show to an even greater extent what he feels about the music.
This leads to cadenzas that not only quote from other music, in particular
Beethoven’s Fifth and Ninth symphonies, but also in the first movement
of the D major Concerto to include parts for two horns. Whilst I appreciate
the (later) precedent of Beethoven’s use of timpani in the piano version
of his Violin Concerto, it has the fatal defect of immediately removing all
possible pretence that the cadenza is the soloist’s spontaneous reaction
to and comment on the main part of the movement. The first time I heard the
cadenzas I was fascinated by them - and they are certainly carefully and cleverly
put together - but they do not lend themselves to repeated listening.
That may decide the matter for you. There are many performances on disc of
these works without such potential annoyances and this may put these out of
court for you. However that would be to deprive yourself of some superlative
music-making. The sheer energy and imagination of the performances is unique
in my experience. I note that Monighetti was a pupil of Rostropovich at the
Moscow Conservatory, and the style of these two artists does have much in common
in its responsiveness to the music and ability to change tone colour and style
in an instant.
The disc opens and closes with two Minuets, and another separates the two concertos.
Although one might reasonably complain of somewhat short measure the result
is a disc which can be played right through with none of the feeling of excess
which you can get when listening to a series of concertos in succession. The
recording is clear with a good balance between soloist and orchestra. All in
all, this would be a very distinguished disc at any time but is particularly
welcome at the end of the Haydn anniversary year.
John Sheppard