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Category: Reviews

  • Rodrigo Concierto Como Un Divertimento

    Sunday Times 18th April 1982

    Julian Lloyd Webber and the Rodrigo Cello Concerto

    THE chief interest of Thursday’s Festival Hall concert by the LPO under Jesus Lopez-Cobos centred around a novelty, a Concierto como un Divertimento for cello and orchestra commissioned by the soloist, Julian Lloyd Webber from the nearly octogenarian blind Spanish composer, Joaquin Rodrigo. Famed mainly for his two guitar concertos, Rodrigo has produced here a predictably pretty, pleasantly ear-tickling piece, full of authentic Spanish . rhythmic and melodic colour in a transparent score which sets the soloist in neat relief in all three movements.

    On the other hand, he has spared Mr Lloyd Webber nothing in difficult and persistently wide-ranging passage-work which he tackled with enthusiastic address. The aged composer was present to share in the applause; it earned a repeat of the finale a not very common occurrence these days, and a measure of the new work’s direct appeal.

    FELIX APRAHAMIAN

  • Rodrigo Concierto Como Un Divertimento

    Gramophone August 1982

    Julian Lloyd Webber plays the Rodrigo Cello Concerto

    LALO Cello Concerto in D minor.

    Julian Lloyd Webber(vlc): London Philharmonic Orchestra / Jesus Lopez-Cobos.

    One wonders if Julian Lloyd Webber, before chasing off to Spain to commission a new cello concerto from Rodrigo, knew of the existence of the Concierto en modo galanie, written in 1949 and recorded recently by Robert Cohen (HMV ASD4198, 4/82). So the newest concerto must be regarded as No. 2, and what a delightful encore it makes. It is even more Spanish in feeling than the earlier work, the melodies of the outer movements having a strong local flavour. The first movement sets off in the friendliest way with a catchy main theme, and the hauntingly atmospheric Adagio nostalgico brings another tenderly sinuous melody which easily insinuates itself into the subconscious. The finale, a characteristic molo perpeiuo, also has an engaging central lyrical strain. Altogether this is a listening experience to make the hearer rejoice that Rodrigo has written yet another piece of distinction that goes out of its way to communicate and give pleasure in its melodic contours and its craftsmanship. The performance is wholly recommendable. Lloyd Webber is totally attuned to the spirit of the music, fully equal to its technical fireworks, and his playing is imbued with warmth. He is admirably accompanied and well recorded.

    Ivan March

  • Rodrigo Concierto Como Un Divertimento

    Musical Opinion April 2010

    Romantic Cello Concertos CD

    JULIAN LLOYD WEBBER: ROMANTIC CELLO CONCERTOS

    Rodrigo: Concierto como un divertimento; Delius: Concerto for cello and orchestra+;

    Lalo: Cello Concerto in D minor

    Julian Lloyd Webber, cello; London Philharmonic Orchestra, Jesus Lopez-Cobos, conductor; +Philharmonia Orchestra, Vernon Handley, conductor

    Sony Music 88697570022

    1 hour 17 minutes

    This welcome reissue contains three of the soloists best concerto performances, especially the Delius (which is inspired). The work that Rodrigo wrote for Lloyd Webber, with its arresting bolero opening and sustained melodic interest, was first heard in 1982; the Sunday Times verdict of sumptuously listenable-to’ remains the most apt epithet The Lalo has always been a valuable contribution to the restricted cello repertoire with its appealing blend of strength and fancy all clothed in highly effective writing for the instrument, one wonders why it is not heard more. Both these concertos need a conductor who is thoroughly at home in the Spanish idiom and can bring his own flair to the proceedings (just as Pedro de Freitas Branco did in the case of the Lalo on the old Decca 78s with the legendary Suggia). López-Cobos is ideally cast here in support of his flamboyant soloist, and the extremely happy results carry to the listener.

    The Cello Concerto was Delius’s favourite among his three string concertos, admired not only by Percy Grainger and others in his immediate circle but (perhaps a little surprisingly) by Elgar, who said he yearned to conduct it. Delius’s amanuensis Eric Fenby attributed its relative neglect to its difficulty and its rhapsodic form, though this particular recording has shown ever since its first incarnation on LP that the two essential requirements are a cellist and a conductor who thoroughly understand Delius’s idiom and can get inside his sound-world: in other words, two Delians through and through. Lloyd Webber and Vernon Handley both on top form and in perfect harmony of understanding, fully meet these requirements in this finely- tuned conception: with the newly-remastered recording sounding better than ever, this performance maintains its position as first choice.

    Lyndon Jenkins

  • Rodrigo Concierto Como Un Divertimento: Mail on Sunday

    January 10th, 2010

    Romantic Cello Concertos CD

    JULIAN LLOYD WEBBER: ROMANTIC CELLO CONCERTOS ****

    If you like musical discoveries, Julian Lloyd Webber does a fine job with three easily overlooked cello concertos by Joaquin Rodrigo, Frederick Delius and Edouard Lalo. His generously filled 77-minute reissue of excellent recordings made in the Eighties is ideal for those who think romantic cello concertos begin and end with Elgar and Dvorak. Julian himself commissioned the Rodrigo from the then 80-year-old blind Spaniard, and although it’s just a bit of froth, it’s really charming, and will appeal to anyone who loves the same composer’s celebrated Aranjuez concerto.

    The Delius is a considerable work, written just four years after Elgar’s concerto, and tirelessly espoused by Beatrice Harrison, who did so much to make the Elgar acceptable. Unlike the meticulously planned Elgar, it’s rhapsodic and sprawling in typical Delius style, but treasurable too.

    David Mellor

  • Rodrigo Concierto Como Un Divertimento

    Yorkshire Post 13th November 2009

    Romantic Cello Concertos CD

    JULIAN LLOYD WEBBER: ROMANTIC CELLO CONCERTOS ****

    One of the jewels among Delius recordings, Julian Lloyd Webber’s loving, relaxed and extraordinarily beautiful account of the Cello Concerto creates a scene of autumnal reverie. It contrasts with a robust reading of the Lalo, with the London Philharmonic adding suitable weight. Rodrigo’s ‘Concierto como un divertimento’ was composed for him, its demanding passages flying around the instrument’s fingerboard, Lloyd Webber capturing its many changing moods with impressive playing. Good 1980s sound and a gift at this price.

    David Denton

  • Rodrigo Concierto Como Un Divertimento

    The Scotsman November 2009

    Romantic Cello Concertos CD

    JULIAN LLOYD WEBBER: ROMANTIC CELLO CONCERTOS ****

    JOAQUIN Rodrigo is perhaps best known for his popular Concerto de Aranjuez for guitar, but in the 1980s – when he was in his eighties – he wrote a concerto for cellist Julian Lloyd Webber that is every bit as exotic and tuneful. Accordingly, it fits well with the title of Lloyd Webber’s latest disc, Romantic Cello Concertos, and sits easily with the lush and slithering chromaticism of Delius’s concerto and the hot-blooded romanticism of Lalo’s.

    These are a repackaging of earlier separate releases by Lloyd Webber, and so feature different orchestras and conductors. With Vernon Handley and the Philharmonia, he digs deep into the passionate soul of the Delius. With Jesus Lopez-Cobos and the London Philharmonic, the Rodrigo is by far the more perfect and invigorating performance.

  • Rawsthorne Cello Sonata

    The Financial Times 15th December 1987

    Julian Lloyd Webber’s afternoon recital at the Wigmore Hall on Sunday, with pianist Peter Pettinger, brought the first performance of Malcolm Arnold’s Fantasy for solo cello, along with sonatas by Beethoven and Debussy and some other English items. Frank Bridge’s Scherzetto for cello and piano was played, and his haunting little Elegie. Alan Rawsthorne’s Sonata of 1949 made a powerful impression with its cogent argument and dipped manner of musical speech: Rawsthorne has a marvellous way of taking stock neo-romantic rhetoric, stripping away all that is fleshy and false about it, and presenting us with a discourse which is very subtly arresting. Peter Pettinger had rather more to do in this sonata of equals than just give the cellist support, and his solo passages were shapely and striking. Lloyd Webber’s performance was articulate, impassioned, large-toned, persuasive.

    The Arnold new work, his Opus 130 no less (though he has not latterly been producing as copiously as of old), is extremely attractive, quite short, and wholly unpretentious: a continuous unfolding of seven little sections, each vividly characterised and concisely written. The opening Andantino (reprised at the end as the’ seventh section) is broad and declamatory. The following Vivace sports a funny bouncy rhythm reminiscent of “Half a pound of tuppenny rice” which is immediately cut off each time it appears by a mournful lyrical phrase – the effect is peculiar, pointful and, although small-scale, distinctively Arnoldian. The Lento is melodious and, again, mournful (here I thought of the tune of one of the sadder Brahms Hungarian Dances). Next comes a march, then an affecting pizzicato serenade, then another Lento, one of strange melancholy, and finally the opening again, which returns satisfyingly and with, of course, changed significance. The Fantasy is a memorable and rather tearful little opus, a perfect gift to cellists of even average ability: Lloyd Webber’s virtuosity was scarcely taxed by it, but he did it proud.

    Paul Driver

  • Prokofiev Ballade

    Diapason October 1998

    Sonate pour violoncelle et piano.

    SERGE PROKOFIEV: Ballade op. 15.

    DIMITRI CHOSTAKOVITCH: Sonate pour violoncelle et piano.

    Julian Lloyd Webber (violoncelle), John McCabe (piano).

    Philips 422 345-2 (CD : 148 F). 1988. Minutage: 57’11”.

    Un magnifique rédial de musique de notre temps, faisant se rencontrer Chostakoviich et Britien, avant qu’une dernière amitié ne les lie dans la vie comme dans leur musique. Julian Lloyd Webber traite avec une égale splendeur leurs deux sonates, pourtant distantes de plus d’un quart de siècle. Ce traitement donne un nouvel éclat à l’Opus 65 de Britten. John McCabe, sans faire oublier le compositeur au piano avec Rostropovitch, s’impose dans le dialogue, tantôt de-bussyste, tantôt pré-classique de cette suite en cinq danses. Lloyd Webber, sans chercher à retrouver le lyrisme enjôleur de Slava, joue le jeu du Dia-logo original, accentue l’hispanisme stylisé du Scherzo-pizvcalo, se souvient de Delius dans l’Elegie; il installe une tension dramatique post-schubenienne, qui donne une réelle consistance à la Marcia, dans sa démarche proche des Pas dans la neige debussystes, ainsi qu’aux abrupts changements de climat du Moto perpétua final. Ce même traitement convient un peu moins bien à la Sonaie très classique de forme de Chostakoviich. Le déroutant Allegro initial exige une grande fluidité de phrasé tout en étant marqué de contrastes sous-jacents, à la manière de l’Opus 65 de Chopin.

    PIERRE-E. BARBIER

    TECHNIQUE C.D. : 6

    Image sombre, manquant de brillant

  • Messiaen ‘Louange a l’eternite de Jesus’

    BBC Music Magazine November 1993

    Messiaen’s ‘Quartet for the End of Time’

    Julian Lloyd Webber (vc); John Lenehan (pf).

    “Lloyd Webber possesses a magnificent rich tone (and instrument). The inclusion of the cello solo from Messiaen’s “Quartet for the End of Time’ was an inspired idea.”

  • Messiaen ‘Louange a l’eternite de Jesus’

    Gramophone October 1993

    Cello Song

    Julian Lloyd Webber (vc); John Lenehan (pf).

    As the title of this disc implies, all the pieces contained herein are rather in the same slowish- paced, lyrical vein, but their sequence has been cleverly chosen so that there is still plenty of variety to keep the listener’s attention. Some of the items are original cello and piano pieces, others are skilful arrangements, and there is a good mixture ofwell-known and unusual offerings. Elgar’s bassoon Romance translates particularly well to the cello, as do the Brahms, Debussy and Dvoräk songs, and only in the arrangement of Grieg’s piano piece To the Spring did I feel that a cello was a little out of place. The Messaien excerpt is the longest and the most profound item, and it exists quite happily äs an entity away from the rest of the Quatuor.

    Throughout the programme Julian Lloyd Webber plays with exceptional sensitivity, sympathy and tonal beauty – in fact it would be difficult to find better performances of this kind of repertoire anywhere on records of today or yesterday. John Lenehan gives good support, and Philips have provided a mellow, roomy quality of recording.

    Alan Sanders