From the archives
Andrew Mcgregor relishes a chance to hear the solo artistry of a still-overlooked cellist, Leonard Rose
The cellist Leonard Rose is perhaps best known for his recordings with violinist Isaac Stern and pianist Eugene Istomin – the famous Istomin-stern-rose Trio. But for Rose’s centenary, Sony steers us towards his solo career, The Complete Concerto
and Sonata Recordings (Sony 88985490172; 14 CDS). An unexpected beginning – Rose accompanying tenor Christopher Lynch in arrangements of Irish songs in 1948 – emphasises right away the sweet, lyrical, song-like sound of his cello playing. Rose found Bruno Walter an inspirational conductor, and their 1954 recording of Brahms’s Double Concerto with Isaac Stern has wonderful grace and fluidity – better than the later recording with Ormandy (also included). There are also two recordings of Bloch’s Schelomo, played with searing immediacy – this time the later Ormandy recording seems preferable for its heartfelt passion.
The partnership with Ormandy in Philadelphia yielded a wonderful account of the Beethoven Triple Concerto, the Istomin-sternrose Trio demonstrating that it works so much better when the soloists think like chamber musicians. Don’t miss the powerful Schumann Concerto with Leonard Bernstein in New York. Another absolute highlight is American composer William Schuman’s
A Song of Orpheus: written for Rose, it highlights the singing sweetness of his sound high on the cello – this lovely piece ought to be a concert hall staple. They’ve kept the original coupling, too, though Rose doesn’t feature: a beautiful performance of Barber’s Piano Concerto from its first interpreter John Browning, with the Cleveland Orchestra and George Szell. Most of the great cello sonatas are here, in the duo with pianist Leonid Hambro – classy, stylish playing, but sometimes a little stilted and formal. The second recording of Schubert’s Arpeggione Sonata is preferable, with pianist Samuel Sanders, when Rose feels more relaxed in a recital of Romantic music. The last recording from 1974 is a real find: the Bach gamba sonatas with Glenn Gould: stylish for the time, and with a combination of clarity, flair and rhythmic delight.