Lynn Harrell - The Known Unknowns (2011)

Tracklist

01. Cello Concerto in A Major, Wq. 172, H. 439: I. Allegro
02. Cello Concerto in A Major, Wq. 172, H. 439: II. Largo con sordini, mesto
03. Cello Concerto in A Major, Wq. 172, H. 439: III. Allegro assai
04. Cello Concerto No. 5 in C Major, Hob. VIIb:5: I. Allegro moderato
05. Cello Concerto No. 5 in C Major, Hob. VIIb:5: II. Adagio
06. Cello Concerto No. 5 in C Major, Hob. VIIb:5: III. Allegro molto
07. Cello Concerto in B-Flat Major, G. 482 (Arr. F. Grutzmacher): I. Allegro moderato
08. Cello Concerto in B-Flat Major, G. 482 (Arr. F. Grutzmacher): II. Andante grazioso
09. Cello Concerto in B-Flat Major, G. 482 (Arr. F. Grutzmacher): III. Rondo (Allegro)
10. 5 Pieces en concert (Arr. P. Bazelaire for Cello and Strings): I. Prelude
11. 5 Pieces en concert (Arr. P. Bazelaire for Cello and Strings): II. Siciliene
12. 5 Pieces en concert (Arr. P. Bazelaire for Cello and Strings): III. La Tromba
13. 5 Pieces en concert (Arr. P. Bazelaire for Cello and Strings): IV. Plainte
14. 5 Pieces en concert (Arr. P. Bazelaire for Cello and Strings): V. Air de diable



The Known Unknowns, an Azica album of cellist Lynn Harrell joined by the Angeli Ensemble, has an equally curious subtitle of "Cello Explorations." Indeed, Harrell takes listeners off the beaten path in his irreverent performances of several much beloved selections from the cello's early concerto repertoire. For its part, the Angeli Ensemble's performance is exemplary and, for some, is the highlight of the album. Given such small numbers, the group achieves a wonderfully rich, well-rounded sound that is nonetheless always nimble, elegant, and ideally balanced. Bow strokes are refined but energetic, and intonation is spot on throughout. There is quite a contrast between orchestra and soloist. So much so that it's unclear why Harrell would choose such a pristine, traditional backdrop for his unorthodox approach to the concertos of C.P.E. Bach, Haydn, Boccherini, and Couperin. Throughout the disc, Harrell assaults his instrument with almost brutal, angular bow strokes that at times produce more noise than sound. His tone, unlike the orchestra, is quite muffled. And then there's his creative albeit peculiar cadenza to the Haydn C major Concerto that quotes everything from Mahler's Second Symphony to the Mexican Hat Dance and just about everything in between. Given Harrell's accomplished career, he's certainly earned some creative license to interpret things how he deems fit, but this album is best suited for those out for a little entertainment and not necessarily for purists or listeners looking for their first recording of any of these works.

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