Of all the soloists Williams has worked with, Yo Yo Ma is almost certainly the one I admire the most. That the cello ranks as my favourite orchestral instrument and Yo Yo Ma is one of the most gifted players around, always makes it a thrill to hear him play. This album does not disappoint. The Concerto is the centre piece and takes first place; the opening movement starts with a grand, broad fanfare from which the cello takes up the main melody. The throbbing orchestration does occasionally recall AI, but unlike in the score, the cello solos are always centre stage. This is followed by a somewhat less romantic cadenza, which plays around with the tune, occasionally punctuated by the other orchestral instruments. In the liner notes, Williams set the second movement, Blues, to be in a quasi improvised style - although it's not clear whether it is partially improvised or merely that it is meant to sound like that.
Blues is the most abstract movement and so when the exciting Scherzo begins, the change of pace and style is most welcome. Williams has always written exceptional scherzos and this is no exception, plenty of cello versus orchestra moments as the soloist darts around the ensemble. Song is by far the most lyrical movement, with long line melody for a restful finale. The Elegy for Cello and Orchestra is actually based on one of the secondary themes from Seven Years in Tibet, originally appearing in the finale cue, Regaining a Son. Here it is expanded into an irresistably beautiful elegy. It is certainly more heartfelt and immediately accessible than the concerto, emphasising Yo Yo Ma's romantic cello as opposed to technical accomplishment.
Although Rosewood did not feature any particular parts for cello, Williams has adapted some of the material into three solo pieces. Having said that I love the sound of the cello, these didn't really do a lot for me. They are technically interesting, but a little difficult to warm to, although the soulful The Long Way North is quite lovely, in a Deep South kind of way. Heartwood is yet another piece inspired by trees and very lovely it is too. Of all his tree inspired compositions, the mysterious grandeur of Heartwood captures the mood of a misty, autumnal forest by far the most effectively. It has a fetching air of nobility and is a superb way to close the album.
If you don't expect something like Seven Years in Tibet (aside from the Elegy of course) then you're unlikely to be disappointed. The Concerto itself is probably my favourite Williams concert work, even if the rather more modern, solo sections take a few listens to fully appreciate. Perhaps the Three Pieces for Solo Cello will grow on me, but I do rather prefer the soloist to be accompanied in some way. The marginally obscure Recording Arts Orchestra of Los Angeles perform very well and is quite probably composed of many of the musicians Williams uses on his film music. Perhaps the only disappointment here is the lack of a distinct style of performance or recording acoustic that he might have achieved with the Boston Symphony. Still, plenty to enjoy and perhaps the best place to start collecting Williams' concert music.
Rating ~ 
Concerto for Cello & Orchestra
Three Pieces for Solo Cello
Total Time ~ 66:46