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Elgar, Britten, Walton - Cello Concertos, 4 Sea Interludes - Li-Wei Qin, LPO, Zhang Yi (2014) [FLAC] (Decca 8896661)

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                    The present release brings together one of the leading British orchestras, the London
Philharmonic Orchestra, under the baton of a distinguished conductor from China, Zhang Yi, with internationally
acclaimed Chinese cellist Li-Wei Qin. The works recorded are by three of the greatest English composers of the twentieth
century, with the Cello Concertos of Edward Elgar and William Walton, and Benjamin Britten's Four Sea Interludes
from his epoch-making opera Peter Grimes.

 

The Straits
Times, December 2014
*****
Quote:Any recording by the Chinese-Australian cellist Qin Li-Wei, presently
based in Singapore, is a cause for celebration. This is Qin’s second recording of Edward Elgar’s autumnal
Cello Concerto in E minor (1918), written as an elegiac response to the catastrophic loss of life and innocence in the
First World War. The inner struggle that comes with the inevitable end of empire is also predicted in its pages; the
work is an half-hour long epic sigh. Qin, who revels in its long-breathed lines, shaves off almost 2 minutes from his
earlier recording with the Adelaide Symphony (issued on Australian Broadcasting Corporation’s budget series
label), yet retains the unshakeable sense of nobility of the music.
Its coupling is no less apt, William
Walton’s Cello Concerto (1956), which is also filled with a bittersweet regret in its slow-fast-slow
three-movement form. Qin plays the later 1975 version of its ending (written for Gregor Piatigorsky who died before he
could play it) which closes with a whimper. In both concertos, he brings out a gorgeous tone on a 1780 Joseph Guadagnini
loaned by Singaporeans Dr & Mrs Wilson Goh. The Four Sea Interludes from Benjamin Britten’s opera Peter
Grimes makes a generous bonus to this glorious album of English music.

Gramophone (01/2015):
Quote:Here are two distinguished new versions of Walton’s still underestimated Cello Concerto. Both display
heaps of eloquence and perceptive artistry from all involved, are utterly valid in their differing approaches and
complement each other beautifully. Editorially, too, they stand apart: in the finale Li-Wei Qin opts for the revised
coda that Walton fashioned in 1975 following a request for a ‘less melancholic ending’ from the
work’s legendary dedicatee, Gregor Piatigorsky. Does it improve on the published original? I don’t think
so, but decide for yourselves. Backed to the hilt by a meticulously prepared LPO under Zhang Yi, the Chinese virtuoso
manifestly loves this bewitching music and savours to the max its soaring lyricism, fastidious refinement and wistful
tenderness. By comparison, Zurich-born Christian Poltéra is marginally leaner in tone and less inclined to linger;
his is a refreshing, purposeful view which pays handsome dividends in tightening the structural bolts of the
finale’s alluringly wayward theme and improvisations. Fabulously secure in technique, the commanding Poltéra
also benefits from wholly sympathetic, razor-sharp support from the São Paulo SO under the late Frank Shipway, while
the sound is splendiferously realistic, even by BIS’s customarily high standards.
As for the couplings,
Poltéra’s choice of Walton’s solo Passacaglia (written in 1979 80 for Rostropovich) and two substantial
works by Paul Hindemith is a particularly happy one. Hindemith was, of course, the soloist in the October 1929 world
premiere of Walton’s masterly Viola Concerto, and the two composers remained firm friends right up to
Hindemith’s death in 1963. His strongly communicative Cello Concerto of 1940 (whose slow movement provided Walton
with the theme for his orchestral Variations on a Theme of Hindemith ) was also written for Piatigorsky and receives
magnificently assured and hugely dedicated advocacy here, as does the pithy Solo Sonata from 1922 23 (try its songful
Langsam centrepiece). Turning to the excellently engineered ABC Classics release, there’s lots to admire, too, in
Qin’s questing, nobly intense interpretation of the Elgar Concerto – he’s a superbly stylish,
raptly intuitive performer of whom I’m sure we’ll be hearing plenty more. Yi proves a conspicuously
tasteful partner, and his shrewdly observant account of Britten’s Four Sea Interludes – which features
some notably accomplished orchestral playing (marvellous work from the LPO’s Principal Flute in ‘Sunday
Morning’) allied to a vivid sense of atmosphere – makes a generous bonus on what is a thoroughly
recommendable issue. Acquire one or the other – ideally both! --Andrew Achenbach 

EDWARD ELGAR
(1857-1934)
Cello Concerto in E minor, Op.85
01. I. Adagio — Moderato [7:54]
02. II. Lento
— Allegro molto [4:28]
03. III. Adagio [4:27]
04. IV. Allegro [10:58]
BENJAMIN BRITTEN
(1913-1976)
Four Sea Interludes from the Opera Peter Grimes, Op. 33a
05. I.	Dawn (Lento e tranquillo)
[4:08]
06. II. Sunday Morning (Allegro spiritoso) [3:49]
07. III. Moonlight (Andante comodo e rubato)
[3:55]
08. IV. Storm (Presto con fuoco) [5:06]
WILLIAM WALTON (1902-1983)
Concerto for Violoncello and
Orchestra
09. I. Moderato [8:38]
10. II. Allegro appassionato [6:25]
11. III. Tema ed improvvisazioni
(Lento) [15:38]

Li-Wei Qin, cello
London Philharmonic Orchestra
Zhang Yi, conductor

Recording Location: Henry Wood Hall, Trinity Church Square, London, 1-3 July, 2013
Executive Producer: Matthew
Freeman
Recording Producer: Andrew Walton, K&A Productions
Sound Engineer and Mixing: Mike Clements
Editing and Mastering: Andrew Walton, K&A Productions
® 2014 Long Chong, under exclusive licence to
Universal Music Limited
© 2014 Universal Music Limited
Manufactured and printed in Hong Kong
DECCA
8896661
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