Marc Coppey - Dvořák Cello Concerto & Klid

Review Marc Coppey - Dvořák Cello Concerto & Klid

It may be exaggerated to speak of a current rush of concert-giving cello soloists. In any case, however, young and youngest cellists of female or male sex are to be found as soloists in cello concertos from Boccherini and Haydn, through Schumann and Dvořák, to Elgar and Shostakovich. A few decades ago, cellists were almost without exception male sex and more advanced age, apart from the exceptional cellist Jacqueline du Pré, who brought fresh wind into the somewhat dusted cello-scene, which wind is still driving the wild young one’s playing the cello. Marc Coppey, with his 47 years, is not one of them anymore. Born in Alsace, Strasbourg, home to many famous musicians, such as the violinist and conductor Charles Munch who came from a musical dynasty, he made a name for himself as the winner of the Bach competition in Leipzig at just 18 years. After that, he successfully climbed the steep career. Today, Marc Coppey is at home on the world's most famous concert stages as a soloist, but also as a chamber musician, with pianists such as Maria-João Pires, Stephen Kovacevich, Nicholas Angelich, Aleksandar Madzar, Michel Beroff and Victoria Mulloway, and for five years as a Cellist of the Ysaÿe Quartet.

At the Berlin seated label audite, an album with Dvořák's Cello Concerto, his Adagio “Klid” and Bloch's Schelomo was released just now. The Dvořák concerto is for the cellists what the Tchaikovsky No. 1 is for pianists: a war horse a cellist must have in his repertoire, and which like the Tchaikovsky concert is not far from being near being ridden to death. At best, a classical approach far from a superficial, fidgety show can counteract the immediate death of this per se marvelous composition. Mark Coppey exactly follows this path with a seamless, full tone, rather restrained vibrato and unagitated calm phrasing, which prefers the overview of the whole and the focused view of the coming to hectic heated mood changes and romantically enthralled navel show. No, this approach does not transport well-maintained boredom. Rather, it provides structural insight and opens insights into a work that must by no means rarely is used as a vehicle for exhibitionism. A soloist such as Marc Coppey, who prefers to retreat behind the composition, and thus unrestrainedly exploits its effect, is rather rare in the concert business and reminiscent of the great cellist Emanuel Feuermann. The cello-concerto of Dvořák echoes in his Adagio 'Klid' (Waldesruhe), which is as affectionately presented by the cellist as the concerto.

Not much less prominent in the cello literature, but not so frequently performed as the Dvořák concerto, is the "Rhapsody hébraïque pour violoncelle et grand orchestre", alias Schelomo, whose melancholic, sometimes majestic basic moods are a striking counterpoint to the natural-minded mood of the Dvořák concerto full of zest of life. In “Schelomo” Marc Coppey successfully cares for the in the best sense rather sober approach he brings to the Dvořák concerto. Kirill Karabits, the conductor of the DSO, like-mindedly is at his disposal, supporting the fine cello singing with a very inspired orchestra.

The excellent recording technique this album has been created, is customary practice for audite and it is particularly effective in the form of the present high-resolution download.

Marc Coppey, cello
Deutsches Symphonie-Orchester Berlin
Kirill Karabits, conductor

Marc Coppey - Dvořák Cello Concerto & Klid

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