Can you put it on the scales, please?
arava By deliberately not calling it a "concerto", Britten was avoiding the suggestion of a bravura display piece or a mighty struggle between soloist and orchestra. Cello and orchestra are equal partners here, and Johannes Moser brought all his musical intelligence to bear on the dialogue. His tone was big and warm where needed, and he proved himself capable of some Rostropovich-like wild abandon, but whether it was in the tense and furtive scherzo or the painfully elegiac slow movement he was consistently eloquent.