An accomplished pianist, he isn’t overburdened by the Vivaldi which allows Bernstein to reveal, in some dramatic flourishes, just how much colour and full tone he could both extract and maintain from a work of this kind. He was a decade younger but had also studied in Vienna, where he was born, went to Palestine shortly after Bernstein, and following war service also went to America where he flourished.
He shared a certain background with Bernstein.
For the Sonata in A major, RV31 Bernstein is teamed with Robert Starer, best known for his portfolio of compositions written in America. There’s still some Old School jog-trotting but the slow movement is sensitively shaped. Perhaps because of the nature of the orchestration – the Concert Hall String Orchestra is a small-sounding ensemble with string tendrils poking out - or because of the less familiar repertory, the Concerto from L’Estro Armonico goes better. He evinces a fine array of expressive gestures, none overdone, and if the orchestra and recording had been on a more efficient level, this would be more than the curio that it is. The Bach gets one of those miserably dry and constricted Concert Hall studio recordings and is really only bearable for the soloist, who, presumably self-directing the clod-hopping band, essays some highly effective slides and plays with style. However, they are interesting figures in their own right.īernstein (1914-1976) was a pupil of Rosé, Flesch and Enescu and was later to forge a successful orchestral career, first as concertmaster of the Palestine Symphony Orchestra, then after the war in America where he was the long-serving and admired assistant concertmaster of the New York Philharmonic. Unfortunately, Rembrandt made lousy violins and Stradivarius was a terrible painter.’ The Bernstein in question is Joseph, not Leonard, and the Rostal is Leo, not Max. The soloists’ names, Bernstein and Rostal, remind me of that old Tommy Cooper joke: ‘I inherited a painting and a violin which turned out to be a Rembrandt and a Stradivarius. Bach and Vivaldi the A minor Concerto of the former and a raft of the latter, largely in non-original form. 1949 (cello works) and 1950 (violin works)įrom the capacious vaults of Concert Hall LPs comes a Baroque programme that may well seem superfluous.
as Cello Concerto by Vincent d’Indy Ĭello Sonata No. 6 RV356 in A minor for violin and strings (1711) Ĭello Sonata No. Violin Concerto in A minor, BWV 1041 (1717–23)
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