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Dvořák: Works for Cello

Adolfo Gutiérrez Arenas, Magdeburg Philharmonic Orchestra, Kimbo Ishii

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Cello Concerto No. 2 in B Minor, Op. 104, B. 191  
1
I. Allegro
Antonín Dvořák; Adolfo Gutiérrez Arenas; Magdeburg Philharmonic Orchestra; Kimbo Ishii
 16:00
2
II. Adagio ma non troppo
Antonín Dvořák; Adolfo Gutiérrez Arenas; Magdeburg Philharmonic Orchestra; Kimbo Ishii
 13:07
3
III. Finale. Allegro moderato
Antonín Dvořák; Adolfo Gutiérrez Arenas; Magdeburg Philharmonic Orchestra; Kimbo Ishii
 14:05
4
Klid, Op. 68 No. 5, B. 182 (Version for Cello & Orchestra)
Antonín Dvořák; Adolfo Gutiérrez Arenas; Magdeburg Philharmonic Orchestra; Kimbo Ishii
 6:39
5
Rondo in G Minor, Op. 94, B. 181
Antonín Dvořák; Adolfo Gutiérrez Arenas; Magdeburg Philharmonic Orchestra; Kimbo Ishii
 9:11
4 Lieder, Op. 82, B. 157  
6
No. 1, Lasst mich allein (Arr. for Cello & Piano)
Antonín Dvořák; Adolfo Gutiérrez Arenas; Juan Carlos Garvayo
 4:38
Digital Booklet
Total Playing Time    63:40
It is the part the cello must interpret by assuming or acquiring a human nature. Dvořák transforms it into a warm lyrical baritone. He repopulates it with harmonics and nuances. And he shows us that the best way to overcome cello “limitations” is none other than to transcend it. Dvořák turns the cello into a meta-cello. Just as in a Mephistophelian pact, he achieves the feat of “animating” it. And the soul is in the score. You have to know how to find it. No one better to do it than Adolfo Gutiérrez Arenas, from his sensitivity, spontaneity and affinity to an instrument he would never have wanted to explore if Bach and Dvořák had not persuaded him otherwise.
96 kHz / 24-bit PCM – IBS Classical Studio Masters

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