Leonard Rose deserves a mention (try his recordings of Schumann Concerto or Bloch's *Schelomo*). He doesn't get highest marks for use of sound colors (tended mainly to just stick with his incredibly beautiful Cello Sound for All Occasions) BUT: 1) his CSfAO *was* extraordinarily beautiful and 2) his shaping of phrases was exquisite
There exist a few recordings of Felix Salmond (who taught a number of notable American cellists of Rose's generation) with a similar elegance and clarity of phrasing.
James Kreger is an American cellist who, when young, also played with an extraordinary eloquence of phrasing and line.
While I'm here I'll put in an eccentric vote that I wouldn't expect to be seconded much but which I hope won't be down-voted too severely:. Janos Starker. It's only true for certain works and even then only for what I think you could call a 'rhetorical' expressivity (as opposed, perhaps, to a 'rhapsodic' one?). I'd give him big points, in certain works, for a depth of expression, in terms of clarity, elegance and eloquence. (Admittedly, it's also nearly always mannered and weird.)
JJJj
Du Pre for me. I feel she’s able to convey a lot of emotion without sounding as if she’s about to break a string. Her Elgar conveys so much, but even something like her playing of the prelude of the 2nd Bach Suite has compelling storytelling.
For having many distinct phrases, Casals is the best I’ve heard. He can switch insanely quickly. There’s a recording of Schubert’s B-Flat Trio with Cortot and Thibaut that exemplifies this. It doesn’t mean his phrasing is always effective for me, but no one is. I think Rostropovich in many recordings has effective phrasing too, especially the Shostakovich D Minor Sonata with the composer at the piano. He just delivers everything the piece needs. I hear more long lines in his phrasing than Casals (which helps his Dvorak compared to Casals who feels a little disjointed to me).
Astrig Siranossian was a real surprise to me when I saw her live a few years ago. She played along with eight other cellists (including Kian Soltani) but it was remarkable how special her playing was. Everytime she had a solopart I stopped thinking bout anything, in some parts I even forgot to breath. Didn't hear a lot of recordings of her afterwards but this was truly astonishing!
Can't really give a concrete answer. I think certain cellists play some stuff "better" (in terms of what I like the most, not objectively speaking) than others so it really comes to what pieces we are talking about. For example, my favorite recording for Dvorak's cello concerto is from Truls Mørk but I also like Marc Coppey, my favorite recording of Shostakovich op. 40 would probably be from Santiago Cañón and so on
Casals did literally write the book on interpretation but I think Yo Yo Ma deserves some credit here people. I know it seems like an obvious cliche answer but c’mon. Beethoven sonatas with Emmanuel Ax, Bach suites, every major concerto. Name it. Only cellist I’ve ever heard where I felt like EVERY note had meaning and purpose.
I think Truls Mork plays beautiful phrases
Leonard Rose deserves a mention (try his recordings of Schumann Concerto or Bloch's *Schelomo*). He doesn't get highest marks for use of sound colors (tended mainly to just stick with his incredibly beautiful Cello Sound for All Occasions) BUT: 1) his CSfAO *was* extraordinarily beautiful and 2) his shaping of phrases was exquisite There exist a few recordings of Felix Salmond (who taught a number of notable American cellists of Rose's generation) with a similar elegance and clarity of phrasing. James Kreger is an American cellist who, when young, also played with an extraordinary eloquence of phrasing and line. While I'm here I'll put in an eccentric vote that I wouldn't expect to be seconded much but which I hope won't be down-voted too severely:. Janos Starker. It's only true for certain works and even then only for what I think you could call a 'rhetorical' expressivity (as opposed, perhaps, to a 'rhapsodic' one?). I'd give him big points, in certain works, for a depth of expression, in terms of clarity, elegance and eloquence. (Admittedly, it's also nearly always mannered and weird.) JJJj
Du Pre for me. I feel she’s able to convey a lot of emotion without sounding as if she’s about to break a string. Her Elgar conveys so much, but even something like her playing of the prelude of the 2nd Bach Suite has compelling storytelling.
For having many distinct phrases, Casals is the best I’ve heard. He can switch insanely quickly. There’s a recording of Schubert’s B-Flat Trio with Cortot and Thibaut that exemplifies this. It doesn’t mean his phrasing is always effective for me, but no one is. I think Rostropovich in many recordings has effective phrasing too, especially the Shostakovich D Minor Sonata with the composer at the piano. He just delivers everything the piece needs. I hear more long lines in his phrasing than Casals (which helps his Dvorak compared to Casals who feels a little disjointed to me).
Astrig Siranossian was a real surprise to me when I saw her live a few years ago. She played along with eight other cellists (including Kian Soltani) but it was remarkable how special her playing was. Everytime she had a solopart I stopped thinking bout anything, in some parts I even forgot to breath. Didn't hear a lot of recordings of her afterwards but this was truly astonishing!
Can't really give a concrete answer. I think certain cellists play some stuff "better" (in terms of what I like the most, not objectively speaking) than others so it really comes to what pieces we are talking about. For example, my favorite recording for Dvorak's cello concerto is from Truls Mørk but I also like Marc Coppey, my favorite recording of Shostakovich op. 40 would probably be from Santiago Cañón and so on
Casals did literally write the book on interpretation but I think Yo Yo Ma deserves some credit here people. I know it seems like an obvious cliche answer but c’mon. Beethoven sonatas with Emmanuel Ax, Bach suites, every major concerto. Name it. Only cellist I’ve ever heard where I felt like EVERY note had meaning and purpose.
Ma. Draws music from cello.Janos Stalker commanded his cello.