The differences between this and other Jacqueline Du Pré versions of Elgar’s Cello Concerto have less to do with conductor and orchestra than with Du Pré’s take on the solo part. Although the interpretation is quite similar to her classic rendition with Barbirolli on EMI, her tone is notably more grainy and wiry, a fact exacerbated by very close microphone placement. Some might view the result as even more intense than before, others may regard it as simply mannered. Du Pré never needed much excuse to emote to excess, and here she does just that (or not, depending on your preference). In any case, the couplings are resolutely unspecial: Pomp and Circumstance March No. 1 is a scramble, while “Enigma” is neither particularly well played nor insightfully conducted–nor well recorded. Indeed, none of Barenboim’s Elgar performances from this period are in any way special, and you kind of get the idea that he made them because he could, not because he wanted to. Du Pré completists will want this, I suppose. Others should pass. [5/2/2006]
