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.