tag:blogger.com,1999:blog-44263808326837018172024-03-18T02:47:37.180-07:00The Classical ReviewerCLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.comBlogger838125tag:blogger.com,1999:blog-4426380832683701817.post-39667150918704604532017-04-05T08:50:00.003-07:002017-04-05T08:50:52.834-07:00A terrific, varied recital of contemporary piano works by South African composers from pianist, Renée Reznek on a new release from Prima Facie<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Given the relative
lack of exposure that the music of South African contemporary composers receive,
a new release from Prima Facie</b> <a href="http://ascrecords.com/primafacie">http://ascrecords.com/primafacie</a>
<b>entitled
<i>From My Beloved Country</i> featuring
pianist, Renée Reznek</b> <a href="http://www.reneereznek.com/">www.reneereznek.com</a>
<b>, is especially welcome.</b> <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeyEzDdIpGYehHfp4802PUuS_YGl7gSUvUEWWOf2IaFFOEYzrCpAlVQ8NyrmkKauG4mKqhulwI-Yf7EUnFIwG28tcovMlOog8xmUrX48fGwJzbP15EZ_cSDDR3r6NK1cF7nYJGsC_oUUWH/s1600/download.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeyEzDdIpGYehHfp4802PUuS_YGl7gSUvUEWWOf2IaFFOEYzrCpAlVQ8NyrmkKauG4mKqhulwI-Yf7EUnFIwG28tcovMlOog8xmUrX48fGwJzbP15EZ_cSDDR3r6NK1cF7nYJGsC_oUUWH/s320/download.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">PFCD055</td></tr>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Renée Reznek was born in South Africa and studied with Adolf
Hallis, a pupil of Tobias Mattay. She later studied with Lamar Crowson, graduating
with distinction from the University of Cape Town with a Bachelor of Music
degree. She subsequently received a scholarship to study with Gyorgy Sandor at
the University of Michigan, USA.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Reznek made her London debut in the Park Lane Group’s series <i>Young Artists and Twentieth Century Music</i>, playing Debussy,
Schoenberg and a new piece written for her by Robert Saxton. She has received
critical acclaim for her playing and for her adventurous programming and was
much praised for her Wigmore Hall recital of the complete solo piano music of
Schoenberg, Berg and Webern. She has performed throughout Britain, Europe and
South Africa, giving solo recitals as well as performing concerti and chamber
music. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Renée Reznek commissioned <b>Neo Muyanga’s <i>Hade, TaTa (Sorry
Father) (2013)</i> </b>in honour of Nelson Mandela and to celebrate the 20th
anniversary of the first democratic elections in South Africa. Born in Soweto,
heir to a long line of musicians, Muyanga draws on traditional Sesotho and Zulu
music fused with Ethiopian melismatic style, jazz and western classical music. <i>Hade, TaTa</i> has a slow thoughtful opening
that expands through some fine harmonies, soon brightening, finding little
rhythmic variations that make the music skip along with a fine melody running
through. There are passages of greater breadth that bring lovely sonorities
before the music returns to its gentler nature, developing into a bluesy tune with
Reznek bringing a lovely, subtle touch.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Kevin Volans’ <i>PMB Impromptu (2014)</i> </b>celebrates a
shared birthplace, referencing both African and Western European traditions,
sometimes humorously. A fast, delicate motif appears over which notes are laid
with varying rhythmic patterns as the music develops between both hands, stunningly
played here. The piece is continually developing through some fine sonorities
before a slow, gentle coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Volans’ <i>Garden of Forking Paths (2014)</i> </b>proceeds
at a mesmeric, meditative pace, opening with gentle harmonies, this pianist
finding the most lovely touch as the music subtly and slowly develops. There
are some gorgeous harmonies, creating a lovely remote atmosphere. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Michael Blake’s <i>Broken Line (2015)</i> </b>is influenced by
Eastern Cape bow music and exudes a vitality which evokes Africa. A staccato
rhythmic motif opens, quickly varying and occasionally finding broader
passages, though always retaining the same basic idea. Throughout, the music
varies in tempo and harmonies, a terrific exercise in writing around a simple unchanging
theme. <b>Blake’s <i>Seventh Must Fall (2016)</i>
</b>is equally minimalist, a response to protests at South African
Universities. A melancholy descending theme is gently taken forward. As it
progresses it becomes subtly slower, an effect that only serves to add to the
melancholy.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Rob Fokkens’ </b>delicately
minimalist <b><i>Five Miniatures (2007)</i> </b>also relate to Xhosa bow traditions as
well as Western European style. The opening miniature follows the preceding
track beautifully with a slow intricately thoughtful theme. The next is a
faster, rhythmically pointed theme that darts around before rising upwards at
the end. Another quiet and gentle, yet animated, piece follows before rapid arpeggios
sound out brilliantly. The fifth and final miniature brings a gentle
conclusion, a gentle rhythmic sway that is interrupted by a faster idea.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Hendrik Hofmeyr </b>is
an Afrikaans composer who went into voluntary exile, only returning to South
Africa at the end of apartheid. His <b><i>Partita Africana I. Preludio II. (2006)</i> </b>includes
fragments of San music. The rich, rolling chords that open are soon interrupted
by a hushed gentle theme. The chords develop each time, increasing in strength
only to fall to a quieter, thoughtful section that develops through a rather
lovely, sad passage. The music rises in strength before its conclusion, now
interrupted by the quieter theme. <b>Hofmeyr’s</b>
<b><i>Umsindo</i></b><i> <b>(2006)</b></i>
brings an offset rhythmic idea that is developed through broader passages, finding
some lovely harmonies, always retaining the irregular rhythms. There are some
terrific repeated phrases before a sudden declamatory conclusion.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Peter Klatzow’s <i>Barcarolle (Arnold Schoenberg in Venice) (2005)</i></b>,
which<b> </b>quotes from Schoenberg, does
not draw on African influences. It brings a gently rocking theme through which Klatzow
weaves some fine melodic lines, developing through some impressive bars with
moments of great beauty, exquisitely brought out by Reznek. There are passages
of increased strength and passion before finding a quiet close.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>David Earl’s <i>Song Without Words (2014)</i> </b>has an
attractive, light and carefree quality, a simple beauty of its own, this
pianist shaping it to perfection. <b>Earl’s
<i>Barcarolle (2014)</i> </b>brings a slow
opening that seems to have a deeper undercurrent. It proceeds through some
lovely broad passages, developing a fine melody. Later there is a moment of
quieter hesitation before the music regains its breadth as it moves through
some very fine harmonies and textures, falling to lead to a lovely little coda that,
nevertheless, ends on a decisive flourish. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>David Kosviner’s Mbira
Melody II (2016) </b>is reminiscent of kalimba (an African instrument with a
wooden board with staggered metal keys) music across the continent, bringing a repeated,
rhythmic motif around which ideas grow, a melodic theme emerging. The opening
idea continues as the melody expands over the rhythmic line, Renée Reznek
bringing a great clarity. Eventually the melody takes on the rhythmic nature of
the repeated idea. A joyous piece to end this terrific, varied recital. </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a welcome opportunity to hear contemporary South
African piano works particularly in such fine performances. The recording is rather
close but reveals much detail. There are useful booklet notes.</span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com150tag:blogger.com,1999:blog-4426380832683701817.post-18658676032424762402017-03-30T05:47:00.003-07:002017-03-30T05:47:37.452-07:00Welcome premiere recordings of William Alwyn’s early quartets Nos 10 to 13 from the acclaimed Tippett Quartet on Somm <div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Between 1922 and 1936 <b>William
Alwyn (1905-1985)</b> <a href="http://www.williamalwyn.co.uk/">www.williamalwyn.co.uk</a>
wrote thirteen string quartets of which he was never truly satisfied and which
he withdrew. In his <i>Essay in
Autobiography, Winged Chariot</i> Alwyn wrote ‘…compositions were pouring from
my fertile pen, too fertile as I was to realise later; no less than 14 String
Quartets (there was an un-numbered earlier quartet), a Violin Concerto and a
gigantic setting for soloists, double choir, organ and orchestra…’<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">It was not until his <i>String
Quartet in D minor</i> of 1953 that he felt he had ‘fully indulged (his) love
of melodic subtlety and invention,’ titling it his Quartet No.1. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Sadly these early
string quartets have never been recorded making the premiere recordings of Nos
10 to 13 from the acclaimed Tippett Quartet</b> <a href="http://www.tippettquartet.co.uk/">www.tippettquartet.co.uk</a> <b>for Somm Recordings</b> <a href="http://www.somm-recordings.com/">www.somm-recordings.com</a> <b>all the more welcome.<o:p></o:p></b></span></div>
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<tr><td class="tr-caption" style="text-align: center;">SOMMCD 0165</td></tr>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">William Alwyn was born in Northampton, England and studied
with Sir John McEwen (1868-1948) at the Royal Academy of Music in London, where
he later taught. In 1961 he retired to Suffolk to compose. His compositions
include five symphonies, concertos, an opera <i>Miss Julie</i>, vocal works, piano pieces, chamber works and over 60
film scores. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Alwyn’s<b> String
Quartet No. 10 (En Voyage) </b>is headed ‘R M S Rangitiki Pacific Ocean,
December 1932 <a href="http://www.rms-rangitiki.com/">www.rms-rangitiki.com</a> when
the composer was returning from Queensland, Australia and was broadcast by the
Birmingham Ladies Quartet in May 1936 with a contemporary critic remarking ‘…it
is agreeable music, not unadventurous in harmony, well written for the
instruments and by no means without atmosphere.’<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In four movements the first is entitled <i>Departure (Adagio e dolente)</i> and opens with a gentle theme
introduced by the viola which is immediately taken up by the whole Quartet. The
Tippett Quartet finds every little detail and nuance in this beautifully
pastoral <i>adagio</i>. Soon there is a
repeated violin motif around which the theme is developed, adding a gentle
rocking motion. The music rises dynamically midway before finding the gentle
peace of the opening, with some beautifully ripe string tone from the cello. <i>Sea Birds (Allegro vivace)</i> springs into
life with a pizzicato chord to move full of spirit, through passages that evoke
fresh air and open spaces. Centrally a wistful section appears with a lovely
descending motif before further more reflective moments are heard only to race
to a terrific coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>The Lonely Waters
(Adagio ma non troppo)</i> brings a gentle, hushed two note rising and falling
motif for violins and viola to which the cello adds a deep line. It is the
cello that continues the melancholy theme over the rest of the Quartet, a quite
lovely idea. Later the theme is taken by
all the players, finding a quiet passion as it develops, the cello again adding
deep rich tones, through a quieter, sombre passage that leads to the coda. <i>Trade Winds (Vivace)</i> has a sparkling
opening that brings some very fine playing from the Tippett Quartet in this
fast and breezy movement. The music soon finds a greater flow as the melody is
developed, finely shaped by this Quartet, bringing forth every rise and fall.
Later there is a rather romantic moment before the music scurries to the coda to
conclude on a held cello note.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>String Quartet No. 11
in B minor </b>was written in April and May 1933 and is in three movements. The
first movement opens with an <i>Andante ma
non Troppo </i>that<i> </i>rises out of a
cello motif, slowly finding a fresher sound as it develops, through passages of
varying tempi and dynamics before rising for the <i>Allegro con brio </i>to dash forward energetically with some
beautifully turned phrases, later finding richer sonorities. The opening motif
re-appears before the music takes off energetically again with this Quartet
creating a terrific energy and forward pulse. When the lovely reflective <i>Andante</i> arrives there is some beautiful
writing for strings before we are led to the hushed coda; a glorious moment. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Alwyn created a lovely opening idea<i> </i>for the second movement <i>Andante
e semplice</i>, full of pathos as the viola brings the melody over a repeated
idea for violins. There are some lovely little details revealed by the Tippett
Quartet as the music slowly weaves through some lovely passages, finding a
passionate edge as it develops, yet always returning to its gentler feel. Quite
lovely. The Quartet weave a lovely opening to the final <i>Moderato e quieto</i>, gentle yet flowing, moving through some
exquisite ideas with a rising and falling motif. The music rises in dynamics midway
before finding a bittersweet passage that leads to a gentle coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Alwyn’s <b>Fantasia
(String Quartet No. 12)</b>,<b> </b>in one
movement<i> </i>marked <i>Allegro con alcuna licenza</i>, was completed in London in July 1935.
It is dedicated to Alan Bush and was given its premiere by the Stratton Quartet
at a concert in the Mercury Theatre, London in January 1937. The Times critic
was less than enthusiastic writing that it had ‘… attempted somewhat
half-heartedly to break new ground but left an uncertain impression behind.’ Happily
at a later London performance by the Blech Quartet, Musical Opinion found that
it was ‘… the only work that aroused any desire to hear it again…it contained a
number of ingenious and novel effects.’ <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This work is a definite step forward from the preceding
quartets, opening with more advanced, often dissonant harmonies, full of
brilliance and breadth. The music falls through some fine passages where the cello
brings deeper tones over the rest of the quartet. Once again there is a
freshness and vitality before a slower section, beautifully shaped and nuanced.
The cello develops some lovely phrases around the other players, rising in
drama, finding moments of depth and feeling before the opening dissonant idea quietly
returns. There are moments of increased passion as a dissonant descending motif
appears. The cello brings passionate phrases over a gentler quartet line before
leaping up with energy. Later the cello brings a deep rich passage which is
developed until springing out across the quartet. It is a rich quieter passage,
full of intense feeling, that leads to a shimmering, hushed coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>String Quartet No. 13
</b>was written during October and November 1936, but never performed in the
composer’s lifetime. In two movements, The Tippett Quartet dig deep into their
strings in the passionate outburst that is the opening of the <i>Adagio e largamente e marcato</i> before
leading through an impressive tapestry of harmonies and sonorities as the music
flows forward. There is a gentler section where some fine ideas are woven as
well as a moment of pensive deliberation that precedes some more intense
phrases. Later the music falls to a hush before slowly raising itself up to
move slowly forward through a moment of exquisite feeling, finding a wistful
solace at the end. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Pizzicato phrases help to propel the<i> Allegro molto e vivace</i> allegro forward until a jaunty little theme
arrives, recalling the pastoral nature of earlier quartets. Yet still there is
a more advanced edge in the harmonies as the music weaves some fine passages.
There are some really lovely bittersweet passages before rising through moments
of increased depth and passion. Later the music suddenly picks up to move
quickly forward with pizzicato phrases driving the pace. This Quartet brings
some brilliantly played, fast, richly woven textures before the music finds the
slower, flowing pastoral theme with lovely harmonies that leads to a hushed coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Alwyn may have dismissed these quartets but they offer much
pleasure, particularly in performances as fine as these from the Tippett
Quartet. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The Tippett Quartet are well recorded at St. Nicholas Parish
Church, Thames Ditton, England and there are excellent notes. </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Let us hope that Somm will allow the Tippett Quartet to
record more of these early quartets. </span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com31tag:blogger.com,1999:blog-4426380832683701817.post-70063020365775338742017-03-27T06:04:00.002-07:002017-03-27T06:04:47.068-07:00Spectacularly fine performances of sacred motets by Giaches de Wert show him to be a composer of distinctive style<div class="MsoNormal">
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The Flemish composer, <b>Giaches
de Wert (c. 1535-1596)</b> is believed to have been born in Antwerp. He was
sent to Italy at a young age where he became a chorister at the house of Maria
di Cardona, Marchese della Padulla. He later became a member of the choir
formed by Alfonso Gonzaga at Novellara but soon made connections with the
nearby ducal courts of Mantua where he eventually became maestro di cappella at
the ducal chapel of S. Barbara, Mantua. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Stile Antico</b> <a href="http://www.stileantico.co.uk/">www.stileantico.co.uk</a> <b>have gathered together a collection of
Sacred Motets by Giaches de Wert for a new release from Harmonia Mundi</b> <a href="http://www.harmoniamundi.com/">www.harmoniamundi.com</a> <b>entitled <i>Divine Theatre</i>.</b> <o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">SACD<br />HMM 807620</td></tr>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The whole choir opens <b>Gaudete
in Domino a 5 </b>(Rejoice in the Lord). It is full of life and vitality, as Wert’s
wonderful harmonies are woven with a feeling of true rejoicing to a sonorous
conclusion. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Hoc enim sentite in
vobis a 5 </b>(For let this attitude be yours) slowly expands with this choir
bringing the most exquisite textures and sonorities, all the while individual
sections of the choir shining through, finding some lovely subtle nuances,
shaping this music beautifully. The music rises centrally through some
wonderfully uplifting passages, the choir later bringing some lovely rich
textures. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Stile Antico bring a fine rhythmic control to the fine part
writing of <b>Saule, Saule a8</b>, a
distinctive motet that would surely bring challenges for any choir. This choir
responds wonderfully, shaping some lovely passages. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"> <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Male voices open the slow and mournful motet, <b>Vox in Rama audita est a 5 </b>(A voice was
heard in Ramah) expanding across the choir with the female voices adding some
very lovely moments. As the motet develops, this choir rises through some
passages that positively glow before bringing this quite wonderful work to a
beautifully controlled conclusion. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The choir rises through some finely transparent, beautifully
blended moments in<b> Amen, amen dico vobis
a 5 (Truly, truly, I say to you) </b>finding passages of rhythmic buoyancy around
a gentler flow before picking up in rhythm to all but dance to the end.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Stile Antico bring some of their finest harmonies in <b>Egressus Jesus a7 </b>(Jesus went out) with
some distinctive rising phrases that lift this music, often bringing a great passion.
<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The choir sounds out passionately in the opening of <b>Peccavi super numerum a6 </b>(I have sinned
more than the number) before finding a gentler flow in this gently rising and
falling penitent motet. This choir find so many wonderful moments, bringing a
great subtlety and attention to every detail, picking up rhythmically before a
gentle conclusion. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There is a gentle yet passionate opening to <b>O Crux ave, spes unica a5 </b>(Hail, O Cross,
our only hope), this choir finding a subtle fluctuation of emotional strength, a
lovely ebb and flow throughout as this mournful text unfolds. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The six voices used in <b>Ascendente
Jesu in naviculam a6 </b>(When Jesus had climbed into the boat) weave some very
lovely harmonies and sonorities, responding wonderfully to every little
rhythmic detail with some particularly fine moments for the female voices before
leading to a remarkably fine coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Female voices take the motet <b>Virgo Maria hodie ad coelum a6 </b>(Today the Virgin Mary is taken up
into heaven)<b> </b>joyfully and buoyantly
forward, the whole choir joining to weave some extraordinarily fine harmonies with
some beautifully controlled moments at <i>Quasi
flos rosarum in diebus vernis</i>, <i>(As
the flower of roses in the spring)</i> such a fine gentle blend of voices that,
nevertheless, retains a fine forward momentum. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">A single tenor opens<b> Quiescat
vox tua a ploratu a6 </b>(Keep your voice from weeping) joined immediately by the
other voices to slowly weave and blend the most lovely sonorities in another
mournful motet, a setting of Jeremiah, yet finding moments of greater rhythmic
buoyancy. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The whole choir brings a radiant <b>Deus iustus, et salvans a6 </b>(A just God and a Saviour) a perfect
vehicle for Stile Antico’s glorious choral textures, rising and falling through
some terrific passages. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>O altitudo divitiarum
a6 </b>(Oh, the height of riches)<b> </b>is
an ideal motet to conclude this disc, the choir finding a wonderful, ever
changing pulse and rubato as this piece moves ahead through such fine textures. </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">It is this choir’s exquisite control, ability to shape and
colour and lift the music that makes these performances so spectacularly fine,
showing Giaches de Wert to be a composer of distinctive style. Stile Antico
receive a first class recording from All Hallows’ Church, Gospel Oak, London,
UK and there are excellent booklet notes from Matthew O’Donovan.</span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com10tag:blogger.com,1999:blog-4426380832683701817.post-20322968968810209282017-03-22T03:44:00.001-07:002017-03-22T03:44:33.893-07:00Superb performances of chamber and vocal works by David Lumsdaine and Nicola LeFanu on a highly recommendable release from Metier<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>A new release from
Metier</b> <a href="http://www.divine-art.co.uk/DAhome.htm">www.divine-art.co.uk/DAhome.htm</a>
<b>brings
chamber and vocal works by David Lumsdaine</b> <a href="http://www.davidlumsdaine.org.uk/">www.davidlumsdaine.org.uk</a> <b>and
Nicola LeFanu</b> <a href="http://www.nicolalefanu.com/">www.nicolalefanu.com</a><span class="MsoHyperlink"> </span><b>all performed
by members of the chamber ensemble, Gemini</b> <a href="http://www.divineartrecords.com/AS/gemini.htm"><b>www.divineartrecords.com/AS/gemini.htm</b></a><b> directed by Ian Mitchell with
soprano Sarah Leonard</b> <a href="http://sarahleonard.me/">http://sarahleonard.me</a>
<b>and pianist Aleksander Szram </b><a href="http://www.aleksanderszram.com/">www.aleksanderszram.com</a><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw4TOE21JVOrbcgStcavHKwdqbpXUR9Rupt7NvgbC8O7Lf0k_GzSrLgxmXb9M_hLkWhxgfjZoQRaaxTFoh69WYmBxFPbCmYFmU492VE-CU7tWm_hQNARzVSw_0xMvup-wB8CQ4FYNU-LIP/s1600/81prXgM0mKL._SL1200_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw4TOE21JVOrbcgStcavHKwdqbpXUR9Rupt7NvgbC8O7Lf0k_GzSrLgxmXb9M_hLkWhxgfjZoQRaaxTFoh69WYmBxFPbCmYFmU492VE-CU7tWm_hQNARzVSw_0xMvup-wB8CQ4FYNU-LIP/s320/81prXgM0mKL._SL1200_.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">msv 28565</td></tr>
</tbody></table>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>David Lumsdaine</b> <b>(b. 1931)</b> was born in Australia and
studied at the New South Wales Conservatorium of Music before moving to
England. In London he studied composition with Lennox Berkeley at the Royal
Academy of Music. After taking a position as lecturer at Durham University he
went on to become a senior lecturer at King's College London. In 1979 he
married the composer Nicola LeFanu. David Lumsdaine’s compositions range across
choral, vocal, orchestral, ballet, instrumental and chamber music. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Nicola LeFanu</b> <b>(b. 1947)</b> was born in England, the
daughter of William LeFanu and the composer Elizabeth Maconchy. She studied at
Oxford, the Royal College of Music and, as a Harkness Fellow, at Harvard. From
1994 to 2008 she was Professor of Music at the University of York and has
taught composition at Kings' College London. She has also directed Morley
College Music Theatre. LeFanu has Honorary Doctorates from the Universities of
Durham, Aberdeen and Open University and is an Honorary Fellow of St Hilda’s
College Oxford. She is also a Fellow of the Royal College of Music and a Fellow
of Trinity College London. In 2015 she was awarded the Elgar bursary, which
carries a commission from the Royal Philharmonic Society for BBC Symphony
Orchestra. Nicola LeFanu’s compositions include operas and music theatre,
choral, vocal, orchestral, chamber and instrumental music. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Nicola LeFanu’s Invisible
Places in 16 continuous </b>sections, for clarinet and string quartet, is in
sixteen small movements that play continuously. The composer tells us that the
starting point for this work was Italo Calvino’s (1923-1985) <i>Invisible Cities</i>, offering a model of
how to create a continuous narrative through tiny, discontinuous ideas. But it
is Calvino’s book, <i>The Great Khan</i>
that senses the nightmare of our ‘brave new world.’ Damaris Wollen and the
Brindisi String Quartet gave the first performance in 1986. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The clarinet brings a questioning motif, developed by the
strings through some lovely ideas and textures, the clarinet adding some fine
colours and tones. We are taken through a subtly faster section, an atmospheric
movement for clarinet where the soloist achieves some terrific sounds before the
strings bring a slow and thoughtful section, interrupted by more abrasive
moments.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Pizzicato phrases hurtle by before the clarinet joins. There
are hesitant string chords with clarinet phrases bubble forth between gentler,
flowing moments. Midway the music finds a spaciousness as the clarinet appears
over string chords, swirling and soaring, often becoming shrill. The strings
hurtle aggressively forward before finding a gentler nature. There are repeated
pizzicato chords out of which a melody arises with the clarinet bringing a high
long note out of which develops some bird like phrases as the theme is taken
through some brilliantly lithe passages. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Stronger string chords are followed by atmospheric
harmonies, the opening idea re-occurs bringing more passion. The clarinet is
heard as the strummed string chords are played. There are more passionate
pizzicato phrases before a gentler, fast moving idea for strings and clarinet
that darts around quickly with outbursts. The clarinet and strings weave some
lovely moments before the strings bring strident, pounding chords. The strings dart
around, joined by clarinet until slowing into the final section to find a quite
beautiful coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a work that takes the listener on a tremendous journey,
packing so much in its sixteen minutes. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>David Lumsdaine’s fire
in leaf and grass </b>for soprano and clarinet was composed in 1991and takes a
text by Denise Levertov. It was written for a Gemini concert, on the occasion
of the composer’s 60th birthday, at St. John’s, Smith Square, London, UK. Soprano,
Sarah Leonard alone brings the first line, ‘The fire in leaf and grass’ before
being joined by the clarinet of Ian Mitchell with a plangent line that soon
becomes more animated. Sarah Leonard brings a beautifully shaped, superbly
animated performance with the clarinet adding colour and descriptive ideas, bringing
a real sense of a snatched moment in time.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Sarah Leonard and<b> </b>Ian
Mitchell<b> </b>are joined by cellist,
Sophie Harris for <b>Nicola LeFanu’s Trio
II: Song for Peter </b>that takes texts by Emily Dickinson, Anton Chekhov, Ted
Hughes and Sara Teasdale in order to, in the composer’s words ‘give different
perspectives to perennial thoughts about time and mortality.’<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Sarah Leonard bursts out with a series of declaimed ‘Ah’s’
showing her great vocal strength and agility in this taxing part. The clarinet
slowly and gently joins as the soprano continues with the text with almost sprechgesang
delivery. The cello joins as the vocal line becomes more melodic, all three
developing some terrific passion. LeFanu uses the clarinet and cello alone to
bring moments of intense feeling, a sense of isolation and loss. When the soprano
rejoins she adds even more desolate feeling. Both instrumentalists bring a
terrific dialogue in their solo passages. There is a particularly intense
passage at the words ‘Like rain it sounded…’ with a technical accuracy and
mastery from these three performers that is remarkable. The setting moves through
more passages of great intensity, passages of deeper richness for the
instrumentalists over which the soprano rises bringing more tremendous vocal
control. There are some superb instrumental details as we move through moments
of gently intense emotion before rising in agitation at the words ‘No more shall
white cranes wake and cry’ before the soprano brings the sense of loss to an end.
<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">All three performers are quite superb in this hauntingly
intense work.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In 1975, <b>David
Lumsdaine </b>composed his solo piano piece, <i>Ruhe sanfte, sanfte ruh’</i>, a meditation on the final chorus from the
St. Matthew Passion. He returned to this work in 1978 when Gemini asked him to
compose a work for them, extending it into<b>
Mandala 3 </b>for piano, flute, clarinet, viola and cello, a work that lasts
some forty minutes. The Sanskrit word <i>Mandala</i>
is difficult to define but in general refers to a spiritual and ritual symbol. Here
pianist, Aleksander Szram is joined by Gemini members, Ileana Ruhemann
(flute/alto flute), Catriona Scott (clarinet), Caroline Balding (viola) and
Sophie Harris (cello) with conductor Ian Mitchell (Chinese gong).<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In three parts <i>I
chorale</i> brings a transcription of the original chorus in the style of a
classical quintet that flows beautifully, Lumsdaine’s instrumentation adding
some lovely lines and textures before suddenly stopping as we go into <i>II sonata</i> where the theme tries to move
ahead hesitantly.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">A Chinese gong is heard as the music finds a more emotional
edge, slowly making its way forward through some quite beautiful yet unusual
harmonies and ideas. There are flutter tongue flute phrases and pizzicato cello
yet the piano tries to bring Bach’s theme through the texture. The gong is
heard again as the instrumentalists weave some wonderful harmonies and sounds
before rising through a terrific passage with a loud gong stroke. Lumsdaine
creates some remarkable ideas as again the piano brings the Bach theme but is
overtaken by the others. The instrumentalists blend in some passionate moments
where one can hear a Bachian presence only to find a gentle end with a gong
stroke before dissolving into the opening of the piano piece, Ruhe sanfte to
bring the final and longest section, <i>III
fantasia</i>. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The piano appears with a gong stroke, slowly and gently
moving ahead, growing ever quieter before rising again to take the theme
forward, developing some very fine sonorities. The strings quietly and slowly
enter as the piano takes the theme ahead through a series of variations, a
hesitant piano part against pizzicato viola, flowing through richer textures
and broadly spaced phrases. There are anguished moments where pianist,
Aleksander Szram brings some impressive moments. Often there is an eastern
meditative quality yet punctuated by more dynamic and fragmented passages.
Later the other instrumentalists are quietly heard around the piano before sudden
faster flights of fancy occur. This pianist brings some beautifully fluent
touches with the other instrumentalists bringing lovely gentle sonorities and
textures around the piano. There are some particularly impressive broad piano
phrases and Bach appears momentarily. There are further moments where Gemini add
wonderful harmonies and sonorities over fine piano phrases that grow in stature
and complexity and, indeed, dynamics. After a peak, Bach’s lovely theme emerges
behind disjointed piano lines causing a harmonic clash. The piano grows louder
as if to squash the Bach theme, hammering out the notes, but Bach continues
regardless, the piano is silenced and the other instruments are left to gently
work around the theme. The piano re-joins as all move through strange, gentle
harmonies until a hushed end is reached on a final piano chord. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a remarkable, tantalising piece full of wonderful
ideas.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">All of the performances are superb; the recording is
excellent as are the notes from the composers that include full English texts
within a nicely illustrated booklet all of which makes this new release highly
recommendable. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">See also:<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><a href="http://theclassicalreviewer.blogspot.co.uk/2016/10/prima-facie-bring-most-rewarding.html">http://theclassicalreviewer.blogspot.co.uk/2016/10/prima-facie-bring-most-rewarding.html</a><o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><a href="http://theclassicalreviewer.blogspot.co.uk/2016/06/a-new-release-from-prima-facie-records.html">http://theclassicalreviewer.blogspot.co.uk/2016/06/a-new-release-from-prima-facie-records.html</a><o:p></o:p></span></div>
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<a href="http://theclassicalreviewer.blogspot.co.uk/2013/04/some-spectacular-performances-of-20th.html"><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">http://theclassicalreviewer.blogspot.co.uk/2013/04/some-spectacular-performances-of-20th.html</span></a><o:p></o:p></div>
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CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com3tag:blogger.com,1999:blog-4426380832683701817.post-56725301564187219412017-03-19T04:41:00.001-07:002017-03-19T10:08:37.359-07:00With a world premiere of Pierre de Manchicourt’s Missa Reges terrae, the Choir of St. Luke in the Fields captivates the ear at every moment on their new recording for MSR Classics <div class="MsoNormal">
<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;"><b>Pierre de Manchicourt
(c.1510-1564) is not a name that is likely to be familiar to those outside of
early music circles. A new release that is likely to change this comes from MSR
Classics</b> <a href="http://www.msrcd.com/">www.msrcd.com</a> <b>featuring the Choir of St. Luke in the
Fields, New York City</b> <a href="http://www.stlukeinthefields.org/music-arts/choirs">www.stlukeinthefields.org/music-arts/choirs</a>
<b>directed by David Shuler</b> <a href="http://www.linkedin.com/in/david-shuler-0514445">www.linkedin.com/in/david-shuler-0514445</a>
<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJeiZFxGrisv6U7nta_0pPYwY4whFnwHgn5KC7QttQPZSAP2Q4Q-0Kd_-pYCuPpU4fSU2HBKnsDkDQBzCrT-iR_VO1ioGy0aqe5e9kjg7VHhAz6JlUTGS9SonwtxQs6NaQuh3VtmKJskvf/s1600/91mcsTukAfL._SL1426_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJeiZFxGrisv6U7nta_0pPYwY4whFnwHgn5KC7QttQPZSAP2Q4Q-0Kd_-pYCuPpU4fSU2HBKnsDkDQBzCrT-iR_VO1ioGy0aqe5e9kjg7VHhAz6JlUTGS9SonwtxQs6NaQuh3VtmKJskvf/s320/91mcsTukAfL._SL1426_.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MS 1632</td></tr>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">Manchicourt was a distinctive Franco-Flemish composer born
in Béthune, then in the French
speaking part of Flanders, now northern France. After serving as a choirboy at
Arras Cathedral he went on to become choirmaster at Tours and Tournai
cathedrals before, in 1559, becoming master of Philip II’s Flemish chapel in
Madrid. He was the composer of many masses, motets and Parisian chansons. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">This new recording opens with Manchicourt’s motet, <b>Reges terrae </b>(The kings of the Earth)<b> </b>which moves through the female voices across
the choir to form a fine tapestry, maintaining some lovely subtle rubato before coming together beautifully at
the end.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">Of particular interest here is the world premiere recording
of Manchicourt’s <b>Missa Reges terrae </b>considered
to have been written during the composer’s employment by Philip II. The <i>Kyrie</i> has a luminous opening from the
female voices of Choir of St. Luke in the Fields before all join for a quite
wonderful weaving of choral lines. Manchicourt brings some finely conceived
layering of vocal textures, captivating the ear at every moment with so many fine
harmonies and sonorities. We are taken straight into the <i>Gloria</i> with a fine tenor bringing the opening words <i>Gloria in Excelcis Deo</i> after which so
many of the choir’s individual voices can be heard blending and weaving a
glorious musical tapestry. They colour and lift the texts beautifully bringing
some impressive moments, finding a little surge in tempo at the conclusion. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">A tenor opens the <i>Credo</i>
before Manchicourt brings some particularly fine luminous textures, so finely
revealed by this choir. The ear can follow all the vocal lines such is the
clarity of this choir and, indeed, the recording. There is a finely shaped
Crucifixus; indeed there are so many finely shaped phrases throughout as well
as some lovely textures and sonorities as the Amen is reached. The<i> Sanctus </i>rises beautifully after the <i>Credo</i>, achieving some quite lovely sonorities
as this fine section moves mellifluously forward. There is a beautifully woven <i>Benedictus</i> from the female voices with the
whole choir rising through the <i>Hosanna</i>.
The male voices lead the second <i>Benedictus
</i>before rising through a glorious, faster <i>Hosanna</i>. The <i>Agnus Dei</i>
brings a wonderful weaving and a fine blend of these very fine voices. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">The choir bring a terrific precision as the various voices
join in the opening of the motet, <b>Caro mea
</b>(My flesh) with fine textures and some particularly rich lower sonorities
over which the other voices weave some lovely lines. This choir achieve some
lovely subtle rises and falls before beefing up the music with Manchicourt’s
distinctive change to triple metre to propel the music to its conclusion. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;"><b>Ne Reminiscaris </b>(Remember
not) is an absolute gem, slowly emerging through some quite lovely passages
before expanding through the choir, full of pathos, beautifully paced, with
some absolutely exquisite moments, sung to perfection here.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">The choir find some especially lovely harmonies in the
motet, <b>Vidi Speciosum </b>(I saw the
fair one), again with a fine ebb and flow. The layering of vocal lines allows
each section of this fine choir to shine through with some beautifully nuanced
singing before taking up a triple metre to speed to another fine conclusion. </span><span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">The Choir of St. Luke in the Fields concludes their disc
with a joyful <b>Regina Caeli </b>(Queen of
Heaven) setting a fine pace as the music moves quickly forward with some lovely
weaving of vocal lines. </span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">With a world premiere and the Choir of St. Luke in the
Fields providing such fine results, this is a must for all early music buffs
and surely everyone who enjoys choral music. The choir receive a top notch
recording from the Church of St. Mary the Virgin, New York City and there are excellent
notes from John Bradley who also prepared the performing editions used here.
There are full Latin and English texts provided. </span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com3tag:blogger.com,1999:blog-4426380832683701817.post-86906199057823933982017-03-12T05:24:00.001-07:002017-03-12T05:24:25.047-07:00Pianist, Irina Chukovskaya provides an impressive recital for Melodiya of works by Shostakovich that are all too rarely heard <div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>A new release from
Melodiya</b> <a href="http://melody.su/">http://melody.su</a> <b>features the distinguished pianist, Irina
Chukovskaya </b><a href="http://irinachukovskaya.com/">http://irinachukovskaya.com</a>
<b>in works by Dmitri Shostakovich
(1906-1975). <o:p></o:p></b></span></div>
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<tr><td class="tr-caption" style="text-align: center;">MEL CD 10 02455</td></tr>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Born in Tashkent, Uzbekistan into a family of musicians, Irina
Chukovskaya began her studies at the age of six with the legendary piano
teacher, Tamara Popovich in Central Music School at Tashkent Conservatory. She
went on to study at the Central Music School in Moscow, the Moscow Tchaikovsky
Conservatory and at Rutgers University, USA.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Chukovskaya went on to become a prize winner at the
International Frederic<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Chopin Piano Competition in Warsaw before establishing
herself as an outstanding performer of modern piano music. The great cellist,
Mstislav Rostropovich described her playing as ‘remarkable for its virtuosity,
sound musicianship, and true artistry.’ She has performed in major venues
throughout Russia, Poland, Italy, Israel, South Korea, Greece, Hungary and
Taiwan as well as the United States and Canada. In 1989 she moved to the USA where
she performed in over half of the fifty states. In 1997 she returned to Russia
where she continued her concert activities and embarked upon a teaching career,
first at the Moscow Conservatory, then as professor in the piano department of
the Gnesins Russian Academy of Music. She has given master-classes in the USA,
South Korea, France, Montenegro, Serbia and Greece. In 2010 Ms. Chukovskaya was
awarded by the Russian Government with the title ‘Distinguished Service to the
Arts of Russia’.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Shostakovich’s<b> Piano
Sonata No. 2 in B minor, Op. 61 </b>was written in 1943. The first two movements
were completed on 18<sup>th</sup> February in Kuibyshev, where he had been
evacuated at the time of the Siege of Leningrad. The third movement was
completed whilst at Arkhangelskoye near Moscow on 17<sup>th</sup> March the
same year. Shostakovich himself gave the first performance in the Small Hall of
the Moscow Conservatory on 6<sup>th</sup> June 1943. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Irina Chukovskaya<i> </i>brings
a fast, fluent touch to the <i>Allegretto</i>
delivering a terrific forward drive, beautifully phrased, rising through some
quite wonderful dynamic passages with moments of articulation, finely
controlled and shaped.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">She shapes the emerging theme of the <i>Largo</i> beautifully, finding her way through the subtly developing
passages quite wonderfully. The central slow staccato section is brilliantly
realised. Chukovskaya creates a mesmerisingly intense atmosphere, finding
darker passages as the movement continues. She paces the music perfectly with
some exquisitely limpid, slow moving passages before the central staccato idea
is hinted as the coda is reached.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <i>Moderato</i> opens
gently as a theme is introduced and developed, soon gaining more of a flow with
constantly shifting harmonies. The music is finely controlled as it very slowly
gains in tempo, moving through some very fine harmonies. Soon a broader, more
expansive section is reached, beautifully realised by this pianist. She brings a
wonderful touch and agility to the fast and intricate passages, developing some
moments of intense feeling before slowing and quietening momentarily only to
speed through a wonderfully fluent section before finding a settled coda.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This pianist delivers a quite wonderful performance that
only goes to reinforce how undervalued this work is.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">By the time Shostakovich composed his <b>24 Preludes, Op. 34 (1932–1933)</b> he had already written three
symphonies, two ballets and two operas. There is a lovely breadth to <i>No. 1 in C major</i> with Chukovskaya finding
a lovely rhythmic lift for <i>No. 2 in A minor</i>
with great fluency and buoyancy, a lovely touch. <i>No. 3 in G major</i> reveals a directness, a lovely simplicity,
beautifully phrased with a fiery interruption before the quiet coda. In <i>No. 4 in E minor</i> this pianist finds all
the subtleties of rhythm and phrasing before a sparkling <i>No. 5 in D major</i> that brings terrific dexterity. In <i>No. 6 in B minor</i> she reveals some fine
harmonies and dissonances in this lively prelude. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This pianist achieves a lovely poise and restraint in <i>No. 7 in A major</i> before bringing her
lovely touch to <i>No. 8 in F-sharp minor</i>,
rhythmic and wonderfully free flowing. There is a fast moving, fluent <i>No. 9 in E major </i>to which she brings
terrific buoyancy before the gentle flow of <i>No.
10 in C-sharp minor</i>, quite lovely, with subtle little rhythmic
interruptions. <i>No. 11 in B major</i> - <i>No.12 in
G-sharp minor</i> is projected as a rather scatty, fast and furious piece to
which she brings a terrific fluency and forward drive with such an even touch. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>No. 13 in F-sharp major</i>
brings lovely dissonant phrases as the rhythmic piece progresses. <i>No. 14 in E-flat minor</i> brings a darker
complexion, this pianist finding much depth, atmosphere and, at times, passion.
<i>No. 15 in D-flat major</i> is probably one
of the better known Op.34 preludes, sparkling and buoyant with a never ending forward
movement. <i>No. 16 in B-flat minor</i> brings
a rhythmic, spiky march theme, nicely phrased before a gently swaying <i>No. 17 in A-flat major</i>, this pianist
finding many lovely nuances. Chukovskaya
brings real life and freshness to <i>No. 18
in F minor</i>.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>No. 19 in E-flat major</i>
has a lovely rocking flow, this pianist finding a lovely breadth before a
forceful, rollicking <i>No. 20 in C minor</i>,
full of dynamism and terrific strength. She provides some lovely rhythmic
phrasing for <i>No. 21 in B-flat major </i>and
teases out much beauty. A thoughtful <i>No.
22 in G minor</i>. <i>No. 23 in F major</i> brings
a fine rhythmic flow with bell like right hand phrases over a rolling left hand
before <i>No. 24 in D minor</i> brings a
robust rhythmic buoyancy, with not a little humour to conclude. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a strikingly fine performance.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">By the time of his <b>Aphorisms,
Op. 13, Ten Pieces for Piano (1927) </b>Shostakovich had written, not only his <i>First Symphony (1924/25)</i>, but a number
of smaller orchestral works and chamber works and was soon to write his first
opera, <i>The Nose</i> (1927/28).<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Aphorisms opens with a rather tentative little <i>Recitative</i> played with moments of
sparkle and wit as is the <i>Serenade</i>
that seamlessly continues out of the opening piece. <i>Nocturne </i>moves around quickly through some spiky and quickly
changing ideas, the composer seemingly trying out ideas, hardly a nocturne at
all. <i>Elegy</i> brings a darker flow with
deeper chords in the left hand underpinning a more flowing theme. Staccato
phrases introduce the <i>Marche funebre</i>
before left hand phrases create dissonances.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">A strident <i>Etude</i> moves
quickly forward gaining in strength and dynamics and leading straight into <i>Dance of Death</i> where staccato, dynamic
phrases receive some terrific playing from this pianist, dancing forward with
tremendous energy. There is a faltering <i>Canon</i>,
finely phrased before <i>Legend</i> brings a
steady flow with a rising and falling theme out of which Chukovskaya draws some
lovely moments, with fine harmonies before it reaches a sombre coda. The
concluding <i>Lullaby</i> has a fine sense
of freedom, wonderfully phrased as it flows forward, later bringing lovely
delicate phrases. </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is an impressive recital of works by Shostakovich that
are all too rarely heard. Irina Chukovskaya receives an excellent recording and
there are useful booklet notes in Russian and English.</span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com5tag:blogger.com,1999:blog-4426380832683701817.post-45896523019416720672017-03-08T03:01:00.000-08:002017-03-08T03:01:42.348-08:00A new release from Naxos brings some wonderful chamber works by Sir Peter Maxwell Davies in performances that could not be bettered<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Naxos <a href="http://www.naxos.com/">www.naxos.com</a> have
done much for the music of <b>Sir Peter
Maxwell Davies (1934-2016)</b> <a href="http://www.maxopus.com/index.aspx">www.maxopus.com/index.aspx</a><b> </b>, not only through their reissue of
recordings from the Collins Classics catalogue but with their commissioning of
the ten <i>Naxos Quartets</i> premiered and
recorded by the Maggini Quartet.<o:p></o:p></span></div>
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<b><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">A new release from
Naxos continues this work with premiere recordings of chamber works mainly from
the composer’s later years, <i>Sonata for
Violin Alone</i>, <i>Dances from The Two
Fiddlers</i>, <i>Sonata for Violin and Piano</i>
and <i>Piano Trio: A Voyage to Fair Isle</i>.<o:p></o:p></span></b></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Sonata for Violin
Alone (2013) </b>is one of Max’s last works; first performed at Teatro Piccolo
Arsenale in Venice by its dedicatee the violinist Duccio Ceccanti <a href="http://carniarmonie.it/artisti/duccio-ceccanti">http://carniarmonie.it/artisti/duccio-ceccanti</a>
who gives here the World Premiere Recording. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In a single movement the sonata opens with intense chords
that are woven through some wonderful sonorities, through exquisitely turned
phrases from Duccio Ceccanti. There are some quite lovely little high notes
that suddenly contrast against more dynamic phrases before the music finds a
faster rhythmic section before continuing its more leisurely forward moving
development. Ceccanti provides some very fine harmonies, sonorities and timbres
in this quite wonderful outpouring of musical invention. After fading to
silence midway, the music suddenly picks up in an intense, faster section with this
violinist providing the most wonderful playing. Soon a gentler forward flow is
found with further fine sonorities still punctuated by intense, dynamic phrases.
Eventually there is a faster rhythmic dancing passage with a terrific forward
drive. There are more quite lovely gentler phrases before the music achieves a
lovely, gentle flow with glorious harmonies to lead to a beautifully spun coda
that rises high in the violin’s register before a final chord.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a quite wonderful work from this great composer’s
final years, brilliantly played by its dedicatee. The recording is clear and
vibrant despite being recorded in a large acoustic. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Duccio Ceccanti is joined by pianist Matteo Fossi <a href="http://www.matteofossi.com/">www.matteofossi.com</a> for <b>Dances from The Two Fiddlers (version for
violin and piano) (1978/88)</b> in another World Premiere Recording. The dances
are taken from Max’s opera <i>The Two
Fiddlers</i> which was first performed at Kirkwall, Orkney in June 1978. This
arrangement by the composer for violin and piano was premiered by György Pauk and Peter Frankl in 1988. The
violin opens with a tentative idea that very quickly develops into a Scottish
style dance to which the piano joins. The music is developed through some
terrific variations, finding a slower tempo, with a Scottish snap, through a
staccato section, slowly gaining in richer textures. Later there is a faster
rhythmic Scottish dance for violin against which the piano brings discordant
phrases, creating a great texture. Pizzicato violin phrases lead to a lovely
variation of the Scottish theme, with some terrific little details before the
piano takes the theme over which the violin adds lovely sonorities before
taking quickly off to a vibrant conclusion. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Duccio Ceccanti and pianist Bruno Canino <a href="http://www.scuolamusicafiesole.it/it/didattica/docenti/184-bruno-canino">www.scuolamusicafiesole.it/it/didattica/docenti/184-bruno-canino</a>
give the World Premiere Recording of the <b>Sonata
for Violin and Piano (2008)</b>. Italian
architecture loomed large in Max’s musical inspiration and here, in the
composer’s words he ‘traces an imaginary traffic free walk across Rome…from
Borromini’s Chiesa Nuova… to the Gianicolo, from where one has a breath-taking
view over the whole city.’ <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The piano opens with a phrase to which the violin joins, a
rather melancholy theme that is soon overtaken by more violent discordant piano
phrases. The leisurely pace continues for both players with little dissonances
appearing for piano, Ceccanti and Canino bringing some finely shaped phrases.
Soon a fast and furious section tumbles forward with complex rhythms and
harmonies. The violin brings a longer melody against a disruptive piano idea before
moving through some exquisite moments set against more aggressive piano phrases.
There are some wonderful moments where both soloists bring the most distinctive
ideas, harmonies and intervals, drawing some fine, dark colours. Occasionally
the music is almost schizophrenic in its wild outbursts. Later there is a brief
solo passage for violin of cadenza like virtuosity, soon slowing as piano and
violin lead through a melancholy slow section.
A leisurely tune appears for piano with the violin soon joining in this lovely
moment. However it is soon broken up as the theme becomes disjointed. It recovers
to a slow, sad flow with sudden little dancing phrases appearing. The music
moves through a further slow passage with quite lovely harmonies before finding
a more dramatic, aggressive stance. The music rushes forward through swirling
phrases with a gentle hushed violin chord at the end. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Piano Trio: A Voyage
to Fair Isle (2002) </b>received its first performance, with the Grieg Piano
Trio, in Kongsberg, Norway in 2003 and is inspired by a trip to Fair Isle for
the first ever music festival held there. Again in one movement, it is
performed here by pianist Matteo Fossi, violinist Duccio Ceccanti and cellist Vittorio
Ceccanti <a href="http://www.vittorioceccanti.com/">www.vittorioceccanti.com</a>
. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The cello brings a long held note around which the violin
weaves harmonies as the music slowly moves ahead as though through the mists. A
deeper cello is joined by fragmented phrases from the piano, creating a
terrific atmosphere. The violin and piano move gently forward, soon joined by
the deep tones of the cello, adding a weight and depth. It is wonderful how one
can hear the melody subtly appearing through the musical texture. Suddenly the
music finds a vibrant, energetic rhythmic propulsion before the violin brings
lovely harmonies. The piano alone brings a gentle passage to which the violin
joins before a fast and furious section in this ever changing land and seascape.
Later a rhythmic dancing theme appears for violin which is developed, before
the cello adds a slow melancholy idea. The piano joins through passages of
deeply melancholic atmosphere with the violin bringing lovely harmonies. The solo
cello takes the sad melody through some fine harmonies before the violin
provides harmonies over a pizzicato cello. All three pick up the pace through terrific
passages as they head to a frantic dancing rhythm before a hushed coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This new release brings some wonderful chamber works in
performances that could not be bettered. The last three works receive excellent
recordings in warmer acoustics. There are informative booklet notes. </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">I do hope that Naxos follow up this terrific release with even
more of Maxwell Davies’ music. </span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com12tag:blogger.com,1999:blog-4426380832683701817.post-34006493443159072712017-03-01T06:52:00.000-08:002017-03-01T06:52:01.041-08:00With the finest of soloists and authoritative performances from Alsop and the Baltimore Symphony Orchestra, a new Naxos release of Bernstein’s Symphonies Nos. 1 ‘Jeremiah and No.2 ‘The Age of Anxiety’ is highly recommended<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Composer, conductor and pianist, <b>Leonard Bernstein (1918-1990)</b> was born in Lawrence, Massachusetts
and studied at Harvard and the Curtis Institute before going on to become a
protégé of the conductor Sergei Koussevitzky (1874-1951).<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">He came to prominence in 1944 after stepping up to conduct
when Bruno Walter (1876-1962) fell ill, going on to become Musial Director of
the New York Philharmonic in 1958. As a composer he wrote for Broadway
including the musicals <i>Candide</i> and <i>West Side Story</i>. His classical works
included an opera, orchestral and choral works and chamber and instrumental
music.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Marin Alsop</b> <a href="http://www.marinalsop.com/">www.marinalsop.com</a> <b>was a pupil of Leonard Bernstein and, therefore, is uniquely qualified
when performing her teacher’s works which she has done to acclaim on a series
of recordings for Naxos</b> <a href="http://www.naxos.com/">www.naxos.com</a>. <b>Following on from her excellent recording
of Bernstein’s <i>Symphony No. 3 ‘Kaddish’</i>
she now returns with the Baltimore Symphony Orchestra</b> <a href="http://www.bsomusic.org/">www.bsomusic.org</a> <b>for a recording of <i>Symphonies
Nos. 1 ‘Jeremiah</i> and <i>No.2 ‘The Age of
Anxiety.’</i><o:p></o:p></b></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5fgyExQeUWbRWjENkOOjLRFYi3I975TmsKrsSihcBZjZ1yN77Qc6kDiXrdlL8KlPmKBqDdNzBEREHb6mPY5ChO9Zbeg1Uo6pBcnCPFfhaHVxIspsQKBjo9kxBLm2iBsvPTSHXqxwpRGGA/s1600/71ax2J%252BnHzL._SL1200_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5fgyExQeUWbRWjENkOOjLRFYi3I975TmsKrsSihcBZjZ1yN77Qc6kDiXrdlL8KlPmKBqDdNzBEREHb6mPY5ChO9Zbeg1Uo6pBcnCPFfhaHVxIspsQKBjo9kxBLm2iBsvPTSHXqxwpRGGA/s320/71ax2J%252BnHzL._SL1200_.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">8.559790</td></tr>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Symphony No. 1,
‘Jeremiah’ (1942) </b>was written for a competition organised by the New
England Conservatory. Though Bernstein didn’t win the prize the conductor Fritz
Reiner arranged for the composer to conduct his new symphony in Pittsburgh. It
went on to win the Music Critic’s Circle Award for 1943-44. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The symphony grew out of a setting of the <i>Lamentations of Jeremiah</i> for
mezzo-soprano and orchestra. It is in three movements with the first, <i>Prophecy</i> receiving a finely judged
opening from Marin Alsop and the Baltimore Symphony Orchestra, conjuring a
sense of longing. The music rises through some beautifully expansive passages,
wonderfully paced, allowing all of Bernstein’s details to emerge in the quieter
moments. The music rises again, more intensely, bringing much passion before
arriving at a terrific climax and tailing away in the wonderfully hushed coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">We are taken straight into the jaunty opening of <i>Profanation</i>, Alsop providing some very
fine contrasting passages as the rhythmic theme moves ahead, through some
brilliantly dynamic passages, shot through with so many fine touches. This
conductor draws some really incisive and taut playing from the Baltimore Symphony.
The orchestra really let rip in the later thundering passages before some terrific,
fast woodwind passages, indeed the whole orchestra show their brilliant panache
and virtuosity right up to the decisive coda.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Mezzo-soprano, Jennifer Johnson Cano <a href="http://www.jenniferjohnsoncano.net/">www.jenniferjohnsoncano.net</a> joins for <i>Lamentation</i>
where the Hebrew text from the <i>Lamentations
of Jeremiah</i> bring moments of great melancholy set against sudden dramatic
passages, this mezzo and orchestra finding a deep feeling and passion. There
are lovely, hushed orchestral moments around which the mezzo winds some
exquisite sounds. Later the orchestra rises through a dramatic section before a
passage of great beauty from the orchestra. Alsop shapes this music quite
wonderfully. The mezzo and orchestra bring greater passion, rising to a
dramatic peak before falling to a small string ensemble, Bernstein handling his
forces, large or small, quite wonderfully. The music slowly moves forward
before finding a degree of serenity in the quite coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Marin Alsop, her players and Jennifer Johnson Cano give a
performance that really convinces, highlighting a sense of cohesion and organic
growth within this very fine symphony.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Bernstein read W. H. Auden’s poem <i>The Age of Anxiety</i> in 1947 and commenced writing a symphony,<b> Symphony No. 2, ‘The Age of Anxiety’ (1949,
rev. 1965)</b>, inspired by this book length psychological poem where four
protagonists find some comfort in sharing their distress. It is in two parts,
the first with a <i>Prologue</i> and
fourteen variations that are divided into <i>The
Seven Ages</i> and <i>The Seven Stages</i>.
Part Two consists of three sections, <i>The
Dirge</i>, <i>The Masque</i> and <i>The Epilogue</i>. It has a prominent part
for piano taken here by the distinguished French pianist Jean-Yves Thibaudet <a href="http://www.jeanyvesthibaudet.com/">www.jeanyvesthibaudet.com</a> .<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>The Prologue: Lento
moderato</i> of <b>Part I </b>emerges out
of silence with a lovely theme for two clarinets that develops through some
very finely nuanced passages with the basses slowly adding a sense of caution. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>The Seven Ages </b>opens
with <i>Variation 1: L'istesso tempo</i> where
the piano of Jean-Yves Thibaudet alone enters gently, bringing a sense of
melancholy and reflection. A descending harp motif heralds an increase in tempo
and dynamics as the piano and orchestra move forward with more animation in through
passages of varying emotional content with soloist and orchestra bringing a
sense of continuity to all the diverse variations, Alsop pointing up
Bernstein’s lovely tapestry of instrumental sonorities. There is a faster,
light fleet section with a terrific rapport between soloist and orchestra as
well as sudden mood changes before arriving at the final <i>Variation 7: L'istesso tempo</i>, a wonderfully blended slow, sad
woodwind passage that is exquisitely done and out of which a limpid, descending
piano motif appears, beautifully combining with a rising woodwind idea.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>The Seven Stages </b>opens
with <i>Variation 8: Molto moderato, ma
movendo</i> where the orchestra brings a heavily laden theme which the piano
then takes, both bringing fine harmonies before moving through a lively and
rhythmic variations with some wonderful playing from Thibaudet. The penultimate
L'istesso tempo brings a dramatic passage of terrific impact before scurrying
to a terrific conclusion with <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>Variation 14:
L'istesso tempo (poco più vivace)</i>. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Thibaudet opens <i>The
Dirge: Largo</i> of <b>Part II </b>with a
rising motif which woodwind take up. The strings add some lovely sonorities,
with terrific instrumental harmonies. Soon the theme is slowly hammered out
with great passion and anger. The piano brings some finely shaped passages and
it is the piano that brings the slow, quiet coda as we move into <i>The Masque: Extremely fast</i> in which
Thibaudet brings some absolutely terrific jazz style passages along with an
ensemble of bass, timpani and percussion, the music drawn from material from <i>On the Town</i>, with terrific panache. There is a terrific outburst as the music goes
into <i>The Epilogue: L'istesso tempo</i> where
a pianino (small upright piano) is heard to great effect. The strings bring an
intensely passionate moment out of which woodwind deliver a plaintive theme.
The piano enters, slowly and subtly adding strength with some beautifully
controlled playing from Thibaudet. The orchestra rises magnificently before further
fine solo piano passages, full of strength and breadth. Eventually the
orchestra lead gently and beautifully forward before a powerful climax with a
kind of resolution. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Marin Alsop, the BSO and Thibaudet pull this sprawling work
together exceptionally well, revealing some quite wonderful moments. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">With the finest of soloists and authoritative performances
from Alsop and the Baltimore Symphony Orchestra this new release is highly
recommended. They receive a vivid, transparent recording from The Joseph
Meyerhoff Symphony Hall, Baltimore, Maryland, USA and there are informative
booklet notes with full texts for Symphony No.2 in Hebrew and English. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">See also: </span></div>
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<a href="http://theclassicalreviewer.blogspot.co.uk/2015/10/marin-alsop-and-her-forces-reveal.html"><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">http://theclassicalreviewer.blogspot.co.uk/2015/10/marin-alsop-and-her-forces-reveal.html</span></a><o:p></o:p></div>
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CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com1tag:blogger.com,1999:blog-4426380832683701817.post-91951526566956496212017-02-23T04:20:00.002-08:002017-02-23T04:20:34.054-08:00Performances to lift the spirits from violist Herbert Kefer and Symphonieorchester Vorarlberg on a new release from Nimbus of works for viola and orchestra by Telemann, Weber, Andreas Baksa and Bruch <div class="MsoNormal">
<b style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Nimbus</b><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"> </span><a href="http://www.wyastone.co.uk/all-labels/nimbus/nimbus-alliance.html" style="font-family: Arial, Helvetica, sans-serif;">www.wyastone.co.uk/all-labels/nimbus/nimbus-alliance.html</a><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">
</span><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"> </span><b style="color: #990000; font-family: Arial, Helvetica, sans-serif;">have
just released a recording by violist, Herbert Kefer with Symphonieorchester
Vorarlberg</b><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"> </span><a href="http://www.symphonieorchester-vorarlberg.at/" style="font-family: Arial, Helvetica, sans-serif;">www.symphonieorchester-vorarlberg.at</a><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">
</span><b style="color: #990000; font-family: Arial, Helvetica, sans-serif;">conducted by Martin Kerschbaum</b><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"> </span><a href="http://www.martinkerschbaum.com/" style="font-family: Arial, Helvetica, sans-serif;">www.martinkerschbaum.com</a><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"> </span><b style="color: #990000; font-family: Arial, Helvetica, sans-serif;">of works for viola and orchestra that span
the 18<sup>th</sup> to 21<sup>st</sup> centuries by Telemann, Weber, Andreas
Baksa and Bruch.</b></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjizry5a-SWfc_oohNIB1iTgY4CDOHLIVL67Yj7Zxu6MnZ_AIHczxplQml9a8dT39tQyAOY3O08s-cziGroIViTb-od8ZIf7g-n0MaVvLDqkZ57xKVNEwavzfv3wy35xaLrzTc6nNOi-V8h/s1600/81FvX3PUx7L._SL1499_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjizry5a-SWfc_oohNIB1iTgY4CDOHLIVL67Yj7Zxu6MnZ_AIHczxplQml9a8dT39tQyAOY3O08s-cziGroIViTb-od8ZIf7g-n0MaVvLDqkZ57xKVNEwavzfv3wy35xaLrzTc6nNOi-V8h/s320/81FvX3PUx7L._SL1499_.jpg" width="311" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">NI 5961<br /></td></tr>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Herbert Kefer (b.
1960)</b> <a href="http://www.artis-quartett.at/d/herbert.html">www.artis-quartett.at/d/herbert.html</a>
was born in Eisenerz, Austria and received his first musical education on the
violin. He went on to study with Prof.Karl Frischenschlager in Leoben and with
Prof.Karl Stierhof at the University of Music in Vienna.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In 1980, together with 3 colleagues, he founded the
Artis-Quartet, spending a year in Cincinnati, Ohio with the LaSalle-Quartet.
There followed an international career including concerts at all well-known
festivals such as the Salzburger
Festspiele, the Schubertiade Feldkirch, the Wiener Festwochen and the Casals Festival.
With the Artis-Quartet he made around 30 CDs some of which received the Grand
Prix du Disque or the Diapason d´Or. In 1991 Herbert Kefer was appointed to the
Viola class at the University of Music in Graz/Institution Oberschuetzen. He is
in demand as a soloist as well as a sought after partner for chamber music
performances. From 2005-2010 he was director of the Weinklang-Festival.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Symphonieorchester Vorarlberg bring a nicely laid out
opening to the <i>Largo </i>of <b>Georg Philipp Telemann’s (1681-1767) Concerto
in G minor for viola and string orchestra </b>with the harpsichord continuo gently
sounding through. When he joins, Herbert Kefer brings a quite beautiful tone with
the orchestra and soloist dovetailing beautifully in the little rising motif,
very finely shaped. They provide a lively, buoyant <i>Allegro</i> with some crisply phrased playing, Kefer handling all the
twists and turns wonderfully, retaining a lovely rich tone before a beautifully
turned <i>Andante</i> where soloist and
orchestra demonstrate a great rapport, the soloist adding subtle expression. In
the <i>Presto</i> Kefer brings viola playing
of the highest order with both soloist and orchestra providing a terrific
rhythmic lift. This fine violist negotiates the fast phrases with a terrific
panache and still with that lovely tone.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">A performance to lift the spirits.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Kefer’s fine tone is to the fore in the beautifully shaped <i>Andante </i>of <b>Carl Maria von Weber’s (1786-1826) Andante and Rondo Ungarese, Op.35
for viola and orchestra</b>, the soloist adding lovely little rhythmic
pointing, weaving some lovely passages with the orchestra. Here the viola
really sings. The <i>Rondo Ungarese</i> is rhythmically
sprung, full of good humour and Hungarian flavour. The soloist brings a playfulness
to so many moments, finding some lovely timbres and maintaining a fine tone across
the viola’s range.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Andreas Baksa (1950-2016)</b>
was born in Romania and studied with Bartok before later moving to the West.
His <b>Viola Pannonica for viola and string
orchestra </b>is a late work, commissioned by and premiered at the Weinklang
Festival in May 2010.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <i>Allegro moderato</i>
opens earnestly in the orchestra, with a very Hungarian flavour to which the
soloist soon adds some particularly fine textures before the music falls back
to become quieter and slower. The music leaps up again with Kefer and the
orchestra weaving some terrific ideas, string orchestra and soloist blending
and weaving the music brilliantly with a lovely forward rhythmic drive. Later a
broader, more flowing melody arrives, quite beautiful, to which the viola adds
some lovely decorations. There are some wonderfully rich, mahogany phrases from
the viola before picking up slowly to find the earlier rhythmic drive. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The music quietens to lead into the <i>Andante</i> where soloist and orchestra bring a quite affecting melody.
There are some lovely textures and harmonies between soloist and orchestra and some
fine rich timbres from the soloist before a brief solo passage for viola. Soon
the viola and orchestra move gently forward, interrupted by occasional
orchestral outbursts, with the soloist finding a momentary faster flow. There
are moments of increased passion, beautifully done by this soloist before a
sudden waltz is announced by the orchestra to which the viola joins, both providing
a rhythmically buoyant lift. There is a brief fast and furious section before
calm returns with lovely harmonies from the viola over shimmering strings in a
particularly lovely moment. The music moves through some gypsy style Hungarian
flourishes where Kefer delivers some quite wonderful playing before strange
harmonies appear leading to an exquisite coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">We are taken into a fast moving <i>Allegro vivace</i>, full of tremendous harmonies and textures, darting
through a variety of ideas, full of Hungarian rhythms. This soloist often
brings terrific, free and spontaneous touches, dancing through some tremendous passages
with both soloist and orchestra providing brilliant playing with razor sharp
phrasing. There are moments of gentler
repose as well as varying rhythmic ideas before a brief solo passage. The music
soon takes off, quickly heading to a
terrific buoyant coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a sprawling yet highly attractive work. Whilst there
are times, especially in the Allegro moderato, where Bartok is an obvious
influence, this is a wholly engaging work, full of invention and colour.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Max Bruch’s
(1838-1920) Romanze in F major, Op.85 for viola and orchestra </b>makes a
lovely conclusion to this disc with both orchestra and soloist bringing much
beauty. Kefer provides an exquisite tone that adds so much to this finely paced
performance that allow Bruch’s distinctive themes and harmonies to breathe. The
music rises through some very fine passages where, as in all the works on this
disc, Kefer lifts them and brings them alive. A real joy. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The recording is excellent with a real presence and there
are useful booklet notes, mainly concerning Andreas Baksa, from the soloist. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">A video of Andreas Baksa’s <i>Viola Pannonica for viola and string orchestra</i> can be seen on
Youtube at the following link: </span><a href="http://www.youtube.com/watch?v=Vj-Q4fty4vI"><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">www.youtube.com/watch?v=Vj-Q4fty4vI</span></a></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com30tag:blogger.com,1999:blog-4426380832683701817.post-59555774311313515612017-02-17T07:22:00.000-08:002017-02-17T07:22:01.330-08:00A much welcome release of Daniel Jones’ Symphonies 1 and 10 from Lyrita, first fruit of a new licensing agreement with the BBC which will see Symphonies 2, 3, 5, 11 and 12 appear during 2017/18 all with the BBC Welsh Symphony Orchestra conducted by Bryden Thomson<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The Welsh composer, <b>(1912-1993)</b>
was born in Pembroke to a father, Jenkyn Jones, who was a composer and a mother
who was a singer. Against this background the young Jones developed quickly, writing
several piano sonatas by the age of nine. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Whilst attending Bishop Gore School in Swansea he
established a close friendship with the poet Dylan Thomas. He went on to study English
literature at Swansea University, leaving in 1935 to study music at the Royal
Academy of Music in London where his teachers included Sir Henry Wood and Harry
Farjeon. It was his winning the Mendelssohn Scholarship that allowed him to
study in Czechoslovakia, France, the Netherlands and Germany. In the period leading
up to World War II he composed his first large-scale orchestral works, <i>Symphonic Prologue</i> and <i>Five Pieces for Orchestra</i>. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">During the War he served as a captain in the Intelligence
Corps at Bletchley Park using his linguistic abilities as a cryptographer and a
decoder of Russian, Romanian and Japanese texts. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">After the war Jones wrote his <i>First Symphony (1947)</i>. Thereafter most of his compositions were
written to commission with requests from the Festival of Britain, the Swansea
Festival, the Royal National Eisteddfod, the BBC, the Royal Philharmonic
Orchestra and the Llandaff Festival. Between 1945 and 1985 he composed his
series of twelve symphonies; each centred on one semi-tone of the chromatic
scale. In 1992 came his unnumbered <i>Symphony
in Memoriam John Fussell</i> (effectively his 13<sup>th</sup> symphony). Jones’
compositions also include concertos, eight string quartets, four cantatas, an
oratorio and two operas.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In the 1030s Jones devised his own compositional system of
Complex Metres or alternating metrical patterns, involving irregular time
signatures. He gave Purcell as a leading influence, as well as Berlioz, Elgar
and Janáček and Haydn. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Daniel Jones was awarded an OBE in 1968. He died in Swansea
in 1993. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Whilst Chandos recorded Jones’ Complete String Quartets with
the Delme String Quartet in 1996 (CHAN 9535), his symphonies have fared less
well. Lyrita released recordings of his Sixth and Ninth Symphonies in 1996
(SRCD326) and the Fourth, Seventh and Eight Symphonies on CD in 2007 (SRCD329).
Since then nothing has appeared. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Now the good news is
that Lyrita</b> <a href="http://www.lyrita.co.uk/">www.lyrita.co.uk</a> <a href="http://www.wyastone.co.uk/all-labels/lyrita.html">www.wyastone.co.uk/all-labels/lyrita.html</a>
<b>have entered into an agreement with the
BBC to issue BBC broadcast recordings of Symphonies Nos 1, 2, 3, 5, 10, 11 and
12 with the BBC Welsh Symphony Orchestra conducted by Bryden Thomson for
release in 2017/18.</b> <b>The first fruit
of this new licensing agreement is the release of Daniel Jones’ Symphonies 1
and 10.<o:p></o:p></b></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk-ZF35oLIzx006jl33guu6RKfoP3PdqszLq792F5YdF5HH0bK_kOANdowrHLUpr7o8JuECVjM7PZzXusiLr5FQHmFPaOB4WRnoR_dwz0vpjt95u7-YRnj5jYt-DprpzhFKtNjHIHZoTaU/s1600/81FvX3PUx7L._SL1499_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk-ZF35oLIzx006jl33guu6RKfoP3PdqszLq792F5YdF5HH0bK_kOANdowrHLUpr7o8JuECVjM7PZzXusiLr5FQHmFPaOB4WRnoR_dwz0vpjt95u7-YRnj5jYt-DprpzhFKtNjHIHZoTaU/s320/81FvX3PUx7L._SL1499_.jpg" width="316" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SRCD 358</td></tr>
</tbody></table>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Daniel Jones began his<b>
Symphony No.1 (1947) </b>in 1944, whilst still serving in the army. The
complete work was premiered at the 1949 Swansea Festival by the London
Philharmonic Orchestra conducted by the composer. Scored for large orchestra it
is in the usual four movements. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>Allegro moderato</i>
opens with tentative phrases from the lower orchestra before rising through the
orchestra as the theme is developed. There are some lovely, sudden woodwind
flourishes with the music growing more dramatic as brass sound out. The music
moves through passages of passionate forward flow as it develops subtly. Soon
there is a lovely passage for oboe and other woodwind, a reflective moment
before whipping up greater passion and drama to a terrific climax. There is a
fine working out of the material of the opening motif with some particularly fleet
string counterpoint as the development continues before slowly bringing a more
gentle and settled statement of the opening motif to close. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>Movement II</i> does
not have a tempo marking but is effectively the slow movement where deep bass
intone as the strings bring a rich slow, passionate theme. Soon the music drops
back to ruminate in the basses before heaving itself through passages of
desolate beauty, first in the woodwind then for strings, growing in power yet with
the brass still bringing a deep gloom. An oboe appears over pulsating strings
in a plaintive theme, taken by the orchestra. An insistent rhythmic section
appears before a bassoon quietly takes the theme over gently pulsating strings.
The music develops through a variety of instrumental combinations, beautifully
woven, slowly gaining in strength again as brass join. Later there is a
quieter, rather melancholy section that builds in passion but again fades away
into a quieter sadness. The music builds again with dominant brass to a peak where
the theme is boldly, dramatically and insistently stated before falling to a
quiet coda on an unresolved chord. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <i>Scherzo. Allegro
moderato</i> has a rather lighter, buoyant theme that dances ahead with little
flute flourishes before slowly becoming more incisive as the rhythmic theme
moves forward. The music develops through a variety of ideas, always with a
light air with further lovely woodwind moments. There is a central trio section
with a more flowing theme for strings, punctuated by brass and woodwind before
the opening theme returns to dance to the decisive coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The basses open the<i>
Finale. Allegro</i>, soon joined by woodwind in a slow, quite lovely theme,
that gains more of a forward flow. The strings bring back a slower, more thoughtful
section through which individual strings weave before rising on a trumpet call
only to return to the slow string theme, albeit with a little more passion. The
music suddenly finds a faster, rhythmically bouncing theme to move forward with
some terrific orchestral details as woodwind, pizzicato strings and brass have
their moment. Later the basses bring a slow section through which woodwind
appear, slowly gaining in tempo and dynamics as the music moves through some
terrific rapid, razor sharp string phrases. Eventually the music slows again
for a passionate string melody, slowly moving forward, beautifully shaped,
through shifting harmonies before bouncing ahead again, gaining in energy with
brass and woodwind to a sudden declamatory coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Whilst not as concise as Jones’ later symphonies this is,
nevertheless, a very fine first symphony. Given how welcome this recording is it
seems almost churlish to mention that the stereo recording is rather grainy and
lacks focus but is perfectly acceptable. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">We jump forward nearly 35 years to the <b>Symphony No.10 (1981) </b>commissioned by the Llandaff Festival of
Music and premiered by the BBC Welsh Symphony Orchestra conducted by Sir
Charles Groves that year. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Though much more concise it is, nevertheless, in four
movements. A bell chimes before the orchestra and then sounds out dramatically
in a series of impassioned outcries to introduce <i>Solenne</i>. The music falls back to a quieter passage yet still with
an underlying tension. There is a further bell chime that heralds a passage of
shifting, tense development. Here the symphonic argument is much more taut, yet
with all of Jones’ distinctive orchestral detail. There are further dramatic
outcries as the music sweeps forward. A brief quieter passage precedes a
searingly dramatic coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">A side drum and timpani announce a fast moving, rather
syncopated theme in the <i>Minacciando</i> that
thrusts ahead full of drama and confidence, building in waves to a forthright
end. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>Serioso</i> brings pizzicato
basses that are responded to by the other lower strings. Brass join as the
music rises with the strings bringing a fine melody that has a melancholy edge.
A flute joins and other woodwind, bringing some lovely harmonies and sonorities. Percussion add brilliance and colour as the
music rises further, developing with a great weight through which individual
instruments appear. Midway there is a moment of quiet stillness before the
music rises again only to fall and rise in a passionate string passage. Pizzicato
strings return, with the brass to lead to the coda where the music loses its
force to end quietly. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In the concluding <i>Agitato</i>
percussion point up the opening as the orchestra surges forward in waves.
Pizzicato strings lighten the texture briefly but soon the music again thunders
dramatically forward. There are bell chimes before brass and timpani sound out.
The woodwind add phrases before a dynamic, resolute coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a terrific symphony, not a note too long, full of wonderful
ideas and orchestration. I am pleased to say that the recording is in every way
superior, vivid, detailed and better balanced. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">That very fine conductor the late Brydon Thomson really had
the measure of these symphonies. There are very useful booklet notes. </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Thank you Lyrita and the BBC – I await the next instalment
with anticipation.</span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com16tag:blogger.com,1999:blog-4426380832683701817.post-27080587788657137942017-02-13T23:48:00.000-08:002017-02-13T23:48:25.700-08:00Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra are on absolutely top form concluding a Tchaikovsky Symphony cycle that must rank amongst the very best on this new release from Onyx<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Last July,Onyx Classics issued thrilling performances of
Tchaikovsky’s <i>Symphonies 1, 2 and 5 </i>from
Vasily Petrenko <a href="http://imgartists.com/artist/vasily_petrenko">http://imgartists.com/artist/vasily_petrenko</a>
and the Royal Liverpool Philharmonic Orchestra <a href="http://www.liverpoolphil.com/">www.liverpoolphil.com</a> .<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>To conclude
Petrenko’s Tchaikovsky symphony cycle Onyx</b> <a href="http://www.onyxclassics.com/">www.onyxclassics.com</a> <b>have
just released another 2 CD set containing Symphonies 3, 4 and 6.<o:p></o:p></b></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdglhgDxdxKXrgp4lcWpuaGL358n4_5KZ1d8qeSYup9HPF5FGOfPgOA6njdMkqsCEcsyuKc-ZCg9MuuMo3FtfUwWRkvTLywLn-BkwnQOmMv2z-7c7Hz5_30x5OdAhxdvq6_BQ7wzJqq48b/s1600/71GAHxOXuTL._SL1200_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdglhgDxdxKXrgp4lcWpuaGL358n4_5KZ1d8qeSYup9HPF5FGOfPgOA6njdMkqsCEcsyuKc-ZCg9MuuMo3FtfUwWRkvTLywLn-BkwnQOmMv2z-7c7Hz5_30x5OdAhxdvq6_BQ7wzJqq48b/s320/71GAHxOXuTL._SL1200_.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2CD<br />ONYX 4162</td></tr>
</tbody></table>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">CD1 opens with <b>Symphony
No. 4 in F Minor Op. 36 </b>where the brass sound out vividly in the opening <i>Andante Sostenuto</i>, beautifully paced,
growing organically with some fine individual instrumental touches,
particularly from the woodwind. Later there is a dangerously slow tempo that
nevertheless works perfectly, bringing a mesmerising moment, contrasting
wonderfully when the music quickly picks up in tempo and dynamics. There is
some wonderfully incisive playing, bringing tremendous excitement, a real sense
of urgency developing, culminating in some very fine string playing. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The Royal Liverpool Philharmonic achieve some lovely
sonorities in the <i>Andantino in modo di
canzona</i> as Petrenko beautifully moulds and shapes the music. There are some
exquisite woodwind passages blossoming out of the orchestral texture as the
music slowly and subtly builds, as well as some rich textures from lower
strings, with slower passages finding a withdrawn beauty. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There follows a simply superb <i>Scherzo - Pizzicato ostinato. Allegro</i> with the theme launched by the
pizzicato strings in some terrific playing, wonderfully nuanced before the <i>Allegro </i>brings some very fine, virtuosic
woodwind and more terrific pizzicato passages before a particularly fine coda.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There is no lack of dynamism in the opening of the <i>Finale - Allegro con fuoco</i> with Petrenko
and the RLPO providing an underlying sense of tension before whipping up quite
a storm with some simply stunning playing. They build much tension and passion before
hurtling to a stunning coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is as fine a Tchaikovsky Fourth as you are likely to
hear. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <i>Moderato assai
(Tempo di marcia funebre) </i>of <b>Symphony
No. 3 in D Major 'Polish' Op. 29 </b>emerges with great sensitivity and
subtlety before rising to move more incisively forward, through some very fine
passages, shot through with Tchaikovsky’s wonderful orchestration, vividly
revealed by the RLPO where they bring pin point accuracy. Some wonderfully dramatic, incisive passages
are built, shot through with moments of exquisite melodic beauty. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There is a light and perfectly paced<i> Alla Tedesca (Allegro moderato e semplice)</i> with a balletic
opening, so wonderfully poised. The orchestra weave some wonderful passages for
woodwind and strings, beautifully done.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <i>Andante elegiaco </i>of
<b>Symphony No. 3 </b>opens Disc 2 with fine
textures from the woodwind and Petrenko a real Slavic nostalgia, slowly growing
as the lovely melody expands, finding a greater urgency. This conductor shapes
the music quite wonderfully with so many fine details revealed before the beautifully
atmospheric coda.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There is a quicksilver, beautifully transparent Scherzo - <i>Allegro vivo</i> with such light textures,
beautifully laid out, rising through some fine little peaks before the <i>Finale - Allegro con fuoco (Tempo di
Polacca)</i> opens purposefully, pushing ahead powerfully and incisively. There
are some very fine development passages and a wonderfully subtle forward drive
before a perfectly balanced central section, finely controlled. Petrenko and
his players take us through some lovely passages where Tchaikovsky weaves a
terrific orchestral canvas, culminating in a brilliant coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is certainly a really very fine Tchaikovsky Third. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Finally we arrive at the <b>Symphony No. 6 in B Minor, 'Pathétique' Op. 74</b>. How does one approach
this tremendous work? It is obvious that Petrenko has this music in his soul,
finding a way to avoid an overblown rush through this wonderful score. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <i>Adagio – Allegro
non troppo</i> rises out of darkness as the music tries to rise. It finds a
light and fleet forward movement yet just hear how Petrenko maintains an
underlying nervous tension as the music develops and rises up. Slowly the big
tune emerges, restrained and laden with emotion, alleviated by moments where the
woodwind emerge, breaking out into more
excitable passages that bring a tremendous emotion and energy, all the more
impactful after the restraint that went before. Petrenko moves the music
through passages laden with feeling, bringing waves of emotion so when the coda
arrives Tchaikovsky seems to have exhausted himself. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">But no, what follows in the <i>Allegro con grazia</i> has a lovely rhythmic swirl with a natural
forward movement that, nevertheless, seems to subtly gain a nervous tension.
Petrenko shows just how to shape this music as he allows the music to fall
gently back to a quiet, restrained coda.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <i>Allegro molto
vivace</i> scurries ahead full of nervous energy through which the main theme
emerges, rising in drama before the theme is heard fully. There is more superb
playing from the RLPO revealing more of Tchaikovsky’s fine orchestration with so
many lovely, finely controlled details. The music rises again, spectacularly as
the theme now pushes confidently ahead, Petrenko and the RLPO bringing a real
incisiveness and weight to a tremendous conclusion. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <i>Finale - Adagio
lamentoso</i> enters with a passionate appeal from the strings soon followed by
a melancholy string passage that rises again, wonderfully caught here. Petrenko
knows just how to capture the depth of Tchaikovsky’s emotional state. The
strings of the RLPO are on tremendous form as the music rises and falls through
an ever fluctuating mixture of emotions before rising to a terrific peak. There
is a passage of desolate beauty before the music falls through the most despairing
of moments to the hushed coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is one of the most affecting Tchaikovsky Sixth’s I have
heard. </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Vasily Petrenko and the Royal Liverpool Philharmonic
Orchestra are on absolutely top form concluding a Tchaikovsky Symphony cycle
that must rank amongst the very best. They are exceptionally well recorded at Liverpool’s
Philharmonic Hall, UK and there are useful notes from Jeremy Nicholas.</span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com1tag:blogger.com,1999:blog-4426380832683701817.post-59850671288703594022017-02-11T05:48:00.000-08:002017-02-11T05:48:09.895-08:00The latest release from Sheva Contemporary of Peter Seabourne’s Steps – An Anthology for Piano Volume 1 brings contemporary piano music that really speaks to the listener <div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>British composer,
Peter Seabourne’s (b. 1960)</b> <a href="http://www.peterseabourne.com/">www.peterseabourne.com</a>
<b>ongoing
anthology entitled Steps has reached five volumes, recordings of which are all
now available from Sheva Contemporary</b> <a href="http://www.shevacollection.it/modules/myalbum/compositore.php?compositore=Seabourne%20Peter">www.shevacollection.it/modules/myalbum/compositore.php?compositore=Seabourne%20Peter</a>
<b>following the release of Steps – An
Anthology for Piano Volume 1</b> <a href="http://www.discovery-records.com/product-ST92179/peter-seabourne/steps-/-an-anthology-for-piano-/-vol-1-minjeongandhellip;.htm">www.discovery-records.com/product-ST92179/peter-seabourne/steps-/-an-anthology-for-piano-/-vol-1-minjeongandhellip;.htm</a>
<b>performed by Minjeong Shin</b> <a href="https://twitter.com/shinx240">https://twitter.com/shinx240</a> <o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">2CD<br />SH 168</td></tr>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Steps are what the composer calls ‘a compositional
travelling companion’ begun in 2001 and projected to run throughout the
composer’s life. Volume 1 opens appropriately with <b>Greeting! </b>where<b> </b>a bell
like motif<b> </b>sounds out, dancing
around and broadening through some terrific rhythms, full of light, set over
deeper chords for left hand.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Still </b>recalls a
funeral of gondolas in Venice with rolling chords for left hand over which a
theme slowly climbs up through passages that bring a rocking motion,
interspersed by the most lovely, thoughtful moments that generate much
atmosphere. There are some beautifully fluid phrases as well as more violent
passages of increasing passion before a sombre, hushed coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">It was a poem by Swinburne, <i>Before the Mirror</i> that inspired <b>The Little White Girl </b>where a girl ponders her reflection in the
mirror, wondering about the future. It brings a delicate theme of melancholy
reflection that is developed through some wonderful passages of varying dynamics
and rhythms, this pianist responding to every sudden mood change before
returning to the faltering melancholy of the opening. This is a particularly
distinctive piece.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>El Suspiro del Moro </b>(The
Moor's Sigh)<b> </b>draws on the
architecture and history of Granada, its title referring to the legend of King
Boabdil, the last Moorish king whom having been driven out by the Christians is
said to have looked back over his beloved city and wept. It opens slowly with a
tentative theme that slowly expands and develops, beautifully shaped by this
pianist. The music moves through richer textures before falling back to the
tentative phrases of the opening. One
can hear a distinctively Iberian flavour emerging in the intervals as the music
develops through some beautifully translucent, fluid passages, slowly gaining
in passion. Indeed, it is impressive how the Iberian flavoured theme weaves
through so many subtle variations with passages of transparent, delicate beauty.
Quite wonderful. Midway it finds a faster, rhythmic pace, a rapid fragmented
rhythm that constantly varies, dancing around with some exceptionally fine
playing from Shin. The music grows ever more dramatic before finding a longer
line to quieten and slow before growing again in power and anguish, only to
conclude quietly and introspectively.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a particularly fine work, brilliantly played by this
pianist.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Split the Lark (2001)
</b>was inspired by a poem by Emily Dickenson which describes how, ‘once the
shell is cracked open, the concealed musical essence is discovered and comes
flooding out.’ It moves from a delicate opening through bars of increasingly
complex harmonies, always varying rhythm. Midway finds a gentler pace only to
speed through faster, more dramatic passages before falling to a hush as the
theme is quietly developed again. It slowly finds greater power, particularly
in the left hand, before fading in the coda. <b> </b><o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Suspended Journeys
(2003-04) </b>is described by the composer as ‘almost a little three movement
sonata which tries to combine the idea of forward movement with a paradoxical
sense of stasis; journeys that have somehow failed to reach their destination.’
<i>19</i>, partly inspired by the energy of
Rilke’s <i>Sonnets to Orpheus B.1 <o:p></o:p></i></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>No.19</i>, rises out
of the depths, moving forward in ever increasing surges through some remarkably
fine harmonies and textures, richly woven and gaining in power. There are moments
of gentler development before the more powerful version of the theme emerges
deep in the left hand, pushing rhythmically forward, gaining in tempo, the
music racing around through bars of terrific propulsion before the coda
arrives.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>Black</i> is nocturne
like, opening with a gently swaying, two note motif that soon rises and
develops with an undercurrent of something more unsettling. Here again this
pianist’s phrasing is impeccable. The music finds a greater strength with dissonant
chords insistently sounding out before regaining its gentle swaying flow. It
rises again through dynamic harmonies before quietening through some lovely,
transparent textures to a haunting coda.
<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>A Touch</i> brings a
toccata, which is built through layers as it develops, darting around, with a
sense of unstoppable drive. Later it finds a rhythmic spring with greater strength,
particularly in the left hand before finding the opening lighter textures to
dart to the hesitant little coda.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The second of these two CDs opens with <b>Little Scene </b>where<b> </b>limpid
phrases gently trickle forward, occasionally underpinned by deeper left hand
chords, chords that later help to develop the music through a richer, stronger
passage through which is heard a lovely melody. The piece develops through some
very fine moments of tremendous invention, gaining in strength before falling
back to gently find its way to a quiet coda. This is a quite lovely piece,
beautifully conceived. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The composer describes<b>
Over the Ocean </b>as having ‘the sense of a sea voyage, of casting out towards
the unreachable horizon.’<b> </b>It opens
powerfully with strong chords sounding out as the theme is slowly revealed. It
falls back momentarily only for the massive chords to return bringing contrasting
images of the sea. The lower chords threaten to rise up but a tense calm
prevails. Soon the music does rise again with aggressive, powerful left hand
chords over which the right hand brings broader phrases. A gentle, rather
withdrawn passage takes us to the coda where hints of the deeper chords are
heard. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Awake! </b>the
composer tells us, brings ‘a feeling of Spring – the awakening re-birth dance
of Persephone.’<b> </b>A two note motif is
developed through often staccato phrases that bring sudden rhythmic changes, darting
through mercurial passages to a quixotic coda, brilliantly played by Shin. This
would make a great encore piece.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>The Sun – just
touched the Morning! </b>is another piece inspired by an Emily Dickinson
poem. It slowly finds its way forward
through tentative bars, slowly gaining in breadth and complexity, through some
wonderfully expansive passages with this pianist finding a lovely longer line until
falling to peter out. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>In Winter </b>was
intended for younger or amateur pianists, the six pieces taking, as their
starting point, poems by Stefan George and Sylvia Plath. <i>Im Windesweben</i> (In the murmuring wind) brings a chilled atmosphere with
faster short phrases. Trills interrupting the flow before momentarily richer
chords appear only to fall to the coda. A rocking motion slowly develops in <i>An Baches Ranft</i> (At the edge of the
brook) as the music moves through some rather melancholy bars before <i>Winter Landscape with Rocks</i> brings a
more powerful forward driving idea, full of complex harmonies. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>Noch zwingt mich treue</i>
(I am constrained to be faithful) reveals a gentle, delicate idea that is
slowly developed through some exquisite moments with the most beautifully
conceived harmonies. <i>The Lark in Winter</i>
has a buoyant, rhythmic skip as this jolly little theme skips forward. A quite
lovely theme unfolds in <i>The Rose in
Winter</i>, slowly and gently finding its way forward. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">After the opening <i>Greeting</i>
what better than <b>Trois Petits Adieux (2001)</b>.
Written as a parting gift for a talented pupil of a friend it opens with <i>crotchet =
76, </i>bringing an insistent motif that is overlaid by a little theme with
some lovely harmonies and dissonances. <i>Playful
yet poignant</i> has a rapid theme that skips ahead in hesitant little phrases,
simple yet finely constructed before <i>Sombre</i>
where chords from the lower keyboard open to which a light, delicate theme
joins, finding a greater flow later.</span><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"> </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There are many fine pieces here that deserve a place in any
recital. I do hope that lovers of contemporary piano music, particularly music
that really speaks to the listener, will explore this fine new release. These
are impressive performances from Minjeong Shin who receives an excellent
recording. There are informative booklet notes from the composer.</span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com2tag:blogger.com,1999:blog-4426380832683701817.post-84289214990635932302017-02-10T06:08:00.002-08:002017-02-10T06:08:51.607-08:00Impressive performances from the Leonore Piano Trio and Gemma Rosefield on a new release from Toccata Classics of David Matthew’s Piano Trios and Journeying Songs for solo cello<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Toccata Classics have already released a series of
recordings of David Matthews’ <a href="http://www.david-matthews.co.uk/homepage.asp">www.david-matthews.co.uk/homepage.asp</a>
<i>String Quartets</i> not to mention volume
one of <i>Music for Solo Violin</i> and <i>Music for Piano</i> that includes his <i>Piano Concerto</i> and <i>Piano Sonata</i>.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Now Toccata Classics</b>
<a href="https://toccataclassics.com/?s=david+matthews">https://toccataclassics.com/?s=david+matthews</a>
<b>have released a recording of David
Matthews’ <i>Complete Piano Trios</i> (to
date) performed by the Leonore Piano Trio</b> <a href="http://www.leonoretrio.com/">www.leonoretrio.com</a> <b>with
Gemma Rosefield</b> <a href="http://www.gemma-rosefield.co.uk/">www.gemma-rosefield.co.uk</a>
<b>performing <i>Journeying Songs, Op. 95 for solo cello</i>.</b><o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZOpYtmcsGwGb1YUn_y1o9WblFoIXyIXdU7JdEEk7XqsvY8YknbK8kUtoU2T2J0SOEuuwUXOobUJVrhbJ71PingoXbLVB4A8dCu6JryoIS76Su6rpPrZEio6dUbwYNr6ybHbfeGDoiBAod/s1600/811Bu-uW2wL._SL1500_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZOpYtmcsGwGb1YUn_y1o9WblFoIXyIXdU7JdEEk7XqsvY8YknbK8kUtoU2T2J0SOEuuwUXOobUJVrhbJ71PingoXbLVB4A8dCu6JryoIS76Su6rpPrZEio6dUbwYNr6ybHbfeGDoiBAod/s320/811Bu-uW2wL._SL1500_.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">TOCC 0369</td></tr>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"> <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">David Matthews’<b> Piano
Trio No. 1, Op. 34 (1983) </b>was commissioned by<b> </b>Trio Zingara with funds from the Arts Council of Great Britain and
first performed by them at the Purcell Room, London, UK in June 1984. In four
movements, the piano introduces the slow opening <i>Lento </i>to which the strings bring a descending motif before soon
picking up a pace to rush quickly forward in the <i>Allegro moderato</i>. These players bring a fine spring to the music
that constantly seeks to find the opening calm yet always leaps up to move
quickly forward through some terrific passages before seeming to find a peace
in the curious coda.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The violin opens the <i>Allegretto:
Drily humorous</i> with a repeated chord, responded to by the cello before the
piano joins, all three players finding a lovely dialogue. Soon a broader
passage emerges, yet the piano’s staccato chords return the air of playfulness,
as do the string players in certain strange phrases, hinting at a more sinister
undercurrent. Later on there are richer string chords, soon overtaken by a
rhythmic pizzicato violin motif over a rich cello line before the piano has a
final say in the coda. The <i>Adagio</i> has
a fine melody for the strings that is overlaid by gentle piano chords as this
lovely movement slowly finds its way forward, each instrument adding its own
depth of feeling, combining to bring lovely textures. The music tries to rise,
led by the piano but continues its exquisite way forward. These players find
the most lovely sensitivity in the hushed phrases before a more passionate edge
momentarily appears. The gentler nature returns with the piano leading over
hushed harmonics that draw the movement to a gentle close. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <i>Molto moderato</i>
opens gently with a three note piano motif to which the cello, then violin
gently add a melody, gorgeously played by this Trio. The violin takes the three
note motif around which the piano and cello wind the varied melody. It is quite
wonderful how Matthews draws so many fine ideas from this simple figure, rising
in passion a little before the gentle coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The Chagall Trio commissioned <b>Piano Trio No. 2, Op. 61 (1993) </b>with funds from the Arts Council of
Great Britain, giving its premiere at the Assembly House, Norwich, Norfolk, UK
as part of the Norwich Festival in October 1993. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Again in four movements, the <i>Allegro</i> opens with a blustery theme, full of energy, rising through
some incisive bars as the idea is developed with the Leonore Piano Trio
bringing terrific ensemble and precision before a sudden unresolved conclusion.
<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <i>Adagio</i> is a
memorial piece for the composer’s partner, the writer Maggie Hemingway. The
piano slowly opens with the violin bringing a long drawn line, a fine melody. The
cello joins adding a lovely depth before the music rises a little in dynamics
with these players bringing some quite wonderful textures and harmonies. The
music moves through a haunting, slow, hushed section before finding more of a
forward flow and gaining in richness and dynamics, bringing a real passion.
Eventually the music drops to a hushed, gentle moment that leads back to the
former gentle flow before a hushed coda.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <i>Scherzo: Molto
allegro</i> brings an urgency as the players play a rather syncopated, frantic
theme that hurtles forward with insistent phrases. Soon there are broad piano
chords over the desperate strings before a middle section where the theme is
varied. Finally the music picks up to hurtle forward to the coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There are light, gossamer harmonies from the strings in the
opening of the <i>Allegro moderato - Andante
con moto – Presto</i> to which the piano brings little repeated notes and out of
which emerges a rather anguished melody. The music finds a kind of entranced
calm with some lovely details before a faster section for piano with pizzicato
violin. Eventually the music rushes forward with beautifully light textures to
the coda. This is a particularly fine trio. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Piano Trio No. 3, Op.
97 (2005)</b> was commissioned by the Leasowes Bank Festival, Shropshire, UK
and first performed by the Chamber Music Company in July 2005.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In two movements, the piano brings a lively motif in the
opening of the <i>Con vivacità</i> that is quickly
varied and taken up by the cello before all three share the theme. This trio
finds some lovely textures and sonorities with the theme in its various guises,
fairly leaping up each time out of the more restrained moments. There are fine
broad intervals whilst always keeping a bubbling energy. Later the violin winds
the lovely melody, rising to the heights before all three bring about a slow,
finely controlled, hushed coda.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The piano brings a languid theme with some lovely
dissonances appearing in the <i>Andante
moderato</i> to which the cello adds a deep, rich tone, soon joined by the
violin in what is a quite wonderful melody, finding lovely textures. The music suddenly
drops to a hushed passage with the strings finding much anguished beauty before
rising, only to fall to another hushed passage. These players find much feeling
as they develop through terrific textures and harmonies. The music reaches a brief
dynamic peak before falling back into a <i>Presto</i>
section where the passion is let loose as the music rushes headlong through
some terrific bars. But it is the languid pace that prevails right to the end.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The Leonore Piano Trio’s cellist, Gemma Rosefield brings a
very fine performance of <b>Journeying
Songs, Op. 95 for solo cello (2004/08) </b>to conclude this disc. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>Song for Judith:
Robusto</i> was commissioned by the Hampstead and Highgate Festival with funds
from the John S Cohen Foundation and is dedicated to Judith Weir on her 50<sup>th</sup>
birthday. Strummed chords open around which Gemma Rosefield brings some lovely
rich textures before developing through passages that have subtle Eastern
inflections, whilst the strummed chords often create a rather Iberian flavour.
This music allows so much opportunity for expression from the soloist in
passages of varying textures with Gemma Rosefield extracting so much from her
instrument. Later the music picks up the
pace in a fast moving section with rapid phrases, brilliantly played here, gaining
in passion. Towards the end there are rapid harmonics before slowing and
quietening for a thoughtful coda, a <i>Pastoral</i>
where strummed chords conclude.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>Song for Elaine: Poco
lento e quieto</i> was written for the Chief Editor at Faber Music, Elaine
Gould. Gemma Rosefield draws a long slow line as this reflective melody expands
through more passionate moments to a quiet coda on plucked chords. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>Song for Gemma:
Andante trasognato</i> <i>- Allegro
appassionato</i> was composed for the soloist here, Gemma Rosefield. It has a
plaintive melody that is soon interrupted by more energetic, dynamics phrases.
This piece ranges across the cello, extracting many fine textures, sonorities
and varying tonal qualities through passages of great passion and momentum. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Gemma Rosefield is an excellent advocate of this brilliant
work. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There are some wonderful works here, impressively played,
containing some of Matthews’ finest music. They receive excellent recordings
and there are informative notes from the composer. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">See also:<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><a href="http://theclassicalreviewer.blogspot.co.uk/2016/05/an-exceptionally-fine-release-from-somm.html">http://theclassicalreviewer.blogspot.co.uk/2016/05/an-exceptionally-fine-release-from-somm.html</a><o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><a href="http://theclassicalreviewer.blogspot.co.uk/2014/06/david-matthews-essays-tributes-and.html">http://theclassicalreviewer.blogspot.co.uk/2014/06/david-matthews-essays-tributes-and.html</a><o:p></o:p></span></div>
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<span style="font-size: 12pt;"><a href="http://theclassicalreviewer.blogspot.co.uk/2013/04/david-matthews-piano-concerto-and-piano.html"><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">http://theclassicalreviewer.blogspot.co.uk/2013/04/david-matthews-piano-concerto-and-piano.html</span></a></span>CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com0tag:blogger.com,1999:blog-4426380832683701817.post-90827963856502337142017-02-06T23:49:00.000-08:002017-02-06T23:49:03.382-08:00A most welcome release from Centaur Records of some very attractive piano works by Jack Gallagher, wonderfully played by Frank Huang<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In November 2015 I was pleased to review a Naxos release of Jack
Gallagher’s very fine Symphony No. 2,
‘Ascendant’ performed by the London Symphony Orchestra conducted by JoAnn
Falletta <a href="http://theclassicalreviewer.blogspot.co.uk/2015/11/joann-falletta-and-london-symphony.html">http://theclassicalreviewer.blogspot.co.uk/2015/11/joann-falletta-and-london-symphony.html</a>
<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Now from Centaur
Records</b> <a href="http://www.centaurrecords.com/">www.centaurrecords.com</a><span class="MsoHyperlink"> </span><b>comes an
equally fine recording of piano music by Jack Gallagher</b> <a href="http://www.jackgallaghermusic.com/">www.jackgallaghermusic.com</a> <b>played by Frank Huang</b> <a href="http://www.frankhuangpiano.com/">www.frankhuangpiano.com</a><o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJtskMR6Bi8LZYB_t3bAxSMdO2nSG9AKIGgzH20rESV42WafXR6fipCYjmRlIYiKWikczwM3GBiTSTVvv1R9FNBO0I0jAzDXHZcCBO95zqWKz-NfQeITGwYeV4P9Nb_5yrru3r80HM0K2z/s1600/1Jack_Gallagher___Piano_Music.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJtskMR6Bi8LZYB_t3bAxSMdO2nSG9AKIGgzH20rESV42WafXR6fipCYjmRlIYiKWikczwM3GBiTSTVvv1R9FNBO0I0jAzDXHZcCBO95zqWKz-NfQeITGwYeV4P9Nb_5yrru3r80HM0K2z/s1600/1Jack_Gallagher___Piano_Music.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">CRC 3522</td></tr>
</tbody></table>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This new recording brings works that range across the
composer’s career to date, from 1971 to 2014 commencing with Gallagher’s <b>Sonata for Piano (1973/2005)</b>. Dedicated
to his wife, the sonata received its first performance in April 1973 by pianist
Lawrence Schubert at Cornell University in Ithaca, New York.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In three movements, the <i>Allegro
vivo</i> opens fluently and buoyantly with Frank Huang finding a lovely forward
momentum. A slower second section soon follows before moments of increased
volatility, developing through passages of more complexity before finding more
of the opening flow to lead to a decisive coda. A leisurely <i>Andante</i> follows to which Huang brings a
fine touch, beautifully shaped and gently rising to some exquisite peaks. There
are some lovely limpid phrases before, centrally, finding much passion as
indeed the music does later until leading to a hushed coda. The <i>Allegro energico</i> rises purposefully before
finding a gentler flow. The drama of the opening soon returns and it is this
contrast of two elements that pervades with this pianist providing some
thrilling playing. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a most engaging sonata that receives a particularly
fine performance. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Evening Music
(1998/2009) </b>was premiered by Laura Silverman at the College of Wooster,
Ohio in April 2008.<b> </b>Broad expansive
phrases open before more dynamic moments occur. Huang brings a real richness to
many parts of this atmospheric piece with some lovely gentle harmonies.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <b>Sonatina for Piano
(1976/2008) </b>was first performed in January 1978 by Lawrence Schubert in the
McGaw Chapel, The College of Wooster. It is in three movements with an <i>Allegro assai</i> that brings a fast,
forward moving, jaunty theme that works through some terrific little variations.
Again it is Huang’s fine phrasing and fluency that adds so much, often finding
a terrific rhythmic buoyancy. There is a
fine breadth to the <i>Andante cantabile
(Berceuse)</i> as it makes its way leisurely forward with Huang revealing so
many colours and rich tones. The concluding <i>Vivo
</i>has a dancing delicacy soon interrupted by more dynamic moments. The music
soon finds a brief moment of more rhythmic thrust before dancing forward again.
There are more moments of dynamic contrast before the music moves quickly to
the coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Nocturne (1976/2008)</b>
was premiered by Jeri-Mae Astolfi at the American Swedish Institute,
Minneapolis, Minnesota in April 2008. There is a lovely gentle rubato to this
peaceful work, a gentle sway, with perhaps hints of a French influence. The
music is developed through some beautiful passages with Huang revealing some
lovely little decorations and details. Rising in dynamics occasionally it later
moves through a lovely descending passage that leads to moments of great
delicacy in the more florid moments. Eventually the opening gentler sway
returns but not without a brief passionate moment before the gentle coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a quite beautiful piece wonderfully played by Huang.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <b>Six Bagatelles
(1979) </b>were first performed by the composer for the Bellville, Ohio Music
Club but received their first public performance by Amy Breneman at the College
of Wooster. <i>Intrada</i> leaps in, full of
energy; with a strong rhythmic pulse, before a brief gentler section that soon
gives way as the music leaps ahead to a brisk coda. The second Bagatelle is the
same Berceuse as appears in the second movement of Gallagher’s Sonatina for
Piano. The <i>Capriccietta</i> has a lively
spring to which Huang brings a lovely touch, beautifully shaped before a rather
lovely <i>Canzone Semplice </i>that is full
of gentle melancholy, pointed up by lovely phrasing. The <i>Arietta</i> is equally gentle, with a stronger surge before its gentle
coda. Finally there is a <i>Rondino</i> that
has a fine rhythmic opening that soon gives way to a rolling, broader section
that rises in strength before the opening rhythm returns for the coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"> <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The short <b>Pastorale
(1978) </b>was published as part of Three Short Waltzes. It takes a gentle
walking pace with a gentle rhythm, full of nostalgia, beautifully written. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Six Pieces for Kelly (1989)
</b>received their first complete public performance by the composer at the
Tuesday Musical Club of Akron, Ohio in September 1995. Intended for young
performers there is a piquant little <i>March</i>,
a slow, rather faltering <i>Lullaby</i>, exquisitely
shaped, a lively <i>Piping Song</i> with a
Scotch snap and the sound of a drone, a flowing, rather French <i>Chanson d’Insouciance</i>, a slow beautiful <i>Folksong</i> with a rather wistful in nature
and a brief strident, fast moving <i>Balkan
Dance</i>.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">These are wonderful little pieces showing this composer’s
gift for writing for all levels of ability whilst bringing beauty and interest.
<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Malambo Nouveau
(2000/2009) </b>originated as an encore piece for the composer and organist
Carson Cooman. In its new and expanded form it was premiered by pianist Angelin
Chang for the Steinway Society of Western Pennsylvania in Pittsburgh in
September 2009. The piece picks up rather well after the Balkan Dance with
dissonances and complex harmonies, brilliantly handled by Huang. It moves through
some terrific passages, full of intricacies and fast, fluent writing, brilliantly
played here.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Happy Birthday, April
(1976/2014)</b>, written for the composer’s wife brings a lighter feel, an
attractive flowing melody taken through some lovely variations.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a most welcome release of some very attractive
works, wonderfully played by Frank Huang. The recording made at the WFMT
Studios, Chicago is exceptional, setting the soloist in a natural acoustic. </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">With booklet notes from the composer this makes a very
attractive release. </span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com0tag:blogger.com,1999:blog-4426380832683701817.post-69131049285165410592017-02-05T23:37:00.000-08:002017-02-05T23:37:11.475-08:00Some tremendous works for bassoon and orchestra by Finnish composers Sebastian Fagerlund and Kalevi Aho on a new release from BIS featuring bassoonist Bram van Sambeek<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">What a good idea it was for BIS Records <a href="http://bis.se/">http://bis.se</a> to couple together works for bassoon by
two distinguished Finnish composers, Sebastian Fagerlund and Kalevi Aho. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This new SACD release neatly bookends solo pieces for
bassoon with bassoon concerti by each composer performed with bassoonist, Bram
van Sambeek <a href="http://bramvansambeek.com/">http://bramvansambeek.com</a> with
the Lahti Symphony Orchestra <a href="http://www.sinfonialahti.fi/">www.sinfonialahti.fi</a>
conducted by Okko Kamu <a href="http://www.patrickgarvey.com/artists/okko-kamu.html">www.patrickgarvey.com/artists/okko-kamu.html</a>
and Dima Slobodeniouk <a href="http://www.dimaslobodeniouk.com/">www.dimaslobodeniouk.com</a><o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPg0H-Pi3I-uBI4j_RQ2GQbWnN-FEIv9W06jvqezIsHycq0sedH-JztlA3pekzeflsAPcN6L39UvePH2Kw89TW88nCneIS9wb1VjyVSRY8hJul04Nq0q_Ht9gRhgXZ0YcnZSykIzYPQ1Pk/s1600/81pzKZvGXPL._SL1417_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPg0H-Pi3I-uBI4j_RQ2GQbWnN-FEIv9W06jvqezIsHycq0sedH-JztlA3pekzeflsAPcN6L39UvePH2Kw89TW88nCneIS9wb1VjyVSRY8hJul04Nq0q_Ht9gRhgXZ0YcnZSykIzYPQ1Pk/s320/81pzKZvGXPL._SL1417_.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">BIS - 2206 SACD</td></tr>
</tbody></table>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Recipient of Finland's most renowned music prize, the Teosto
Prize<b>, Sebastian Fagerlund (b. 1972)</b>
<a href="http://www.editionpeters.com/modern.php?composer=FAGERLUN&modern=1">www.editionpeters.com/modern.php?composer=FAGERLUN&modern=1</a><span class="MsoHyperlink"> </span>is
currently composer-in-residence at the Amsterdam Concertgebouw. <b>Mana, concerto for bassoon and orchestra
(2013/14) </b>was commissioned jointly by the Gothenburg and Lahti Symphony
Orchestras and the Borletti-Buitoni Trust for the soloist here, Bram van
Sambeek. In Finnish Mana suggests invocation whereas in Swedish it alludes to
death and exorcism. Percussion and brass open with some fine textures to which
the soloist immediately adds rising and falling, earthy phrases. The orchestra
soon expands to provide an atmospheric accompaniment over which the bassoon
plays some remarkable textures. Soon there is an orchestral passage where some
terrific textures are woven by the Lahti players. They slowly increase the
tempo and drama before the bassoon returns in a section of more delicate little
phrases pointed up by percussion. The music builds passages of tremendous power
before falling away to a slow section where the soloist rises and falls over a
gentle orchestral accompaniment creating some lovely sounds and great
atmosphere. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">I particularly love the way Fagerlund floats different
instruments of the orchestra through the orchestral texture. Bram van Sambeek provides
a wonderful tone and some fine textures and sonorities, rising through some
tremendous passages before arriving at the cadenza where this soloist brings
more fine sonorities combined with some brilliant virtuosic techniques. When
the orchestra returns, a rhythmic tempo emerges around which the soloist weaves
a ritualistic line. The music is shot through with fine orchestration and, as
the pace quickens, timpani keep the rhythmic beat, building through some
frantic moments until suddenly quietening and slowing for the bassoon to weave
the melody around the orchestra to a quiet coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a highly original concerto of considerable
invention. Both soloist and the Lahti Symphony Orchestra conducted by Okko Kamu
provide a tremendous performance. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Fagerlund’s<b> Woodlands
for bassoon solo (2012) </b>was a preparation for his concerto Mana. Written for
Bram van Sambeek, the composer states that the work sprang from an abstract
idea of a mystical realm. The soloist suddenly rises up with a theme that is
repeated through a variety of textures and ideas, van Sambeek providing
terrific control and flexibility as he works through so many different
textures, sonorities and techniques. There are many fine little details as well
as some quite magical quieter moments perfectly caught here. There is a passage
of rapid virtuosic flexibility and technique with a quite remarkable variety of
sounds that Fagerlund asks his soloist to provide, making for a terrific
development of a theme that never flags for one second. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">One of Finland’s most distinguished composers, <b>Kalevi Aho </b><a href="http://www.fennicagehrman.fi/?id=33">www.fennicagehrman.fi/?id=33</a> was
appointed the Lahti Symphony Orchestra’s composer-in-residence in 1992 and its
honorary composer in 2011. <b>Solo V for
bassoon (1999) </b>was written for Harri Ahmas, solo bassoonist of the Lahti
Symphony Orchestra, and premiered in Munich in November 1999. Bram van Sambeek
opens this challenging work with some deep, ripe notes before developing
through some wonderfully characterised phrases that seem to bring out the sound
of human feelings and emotion. This soloist reveals some terrific tones as
bassoon notes are ‘spat’ out staccato fashion, weaving through quickly changing
ideas with passages of rapid, fluent playing. Throughout all the variety of
ideas and techniques runs a continuing melody revealed in its many guises, creating
individual sounds and motifs before a sudden end.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Aho’s <b>Concerto for
bassoon and orchestra </b>was written for the bassoonist, Bence Bogányi who premieres the work with the
Helsinki Philharmonic Orchestra. The composer speaks of wishing to expand the
solo instrument’s sonic and expressive possibilities. In four movements the <i>Andante</i> opens with a wonderful blend of
sonorities from the orchestral brass and solo bassoon, beautifully done. They
develop through a lovely melody with subtle varied phrases. Aho blends soloist
and orchestra so well in passages of deep sonorous notes as well as those
higher in the soloist’s range. The orchestra alone increases the tension to
which the soloist adds a more animated line, gaining in rhythmic pulse before a
more flowing orchestral section develops the drama further. Later the orchestra
falls to allow the soloist to bring a passage much like an accompanied cadenza.
The orchestra alone rises up passionately again through surging strings to
which the bassoon brings an equal passion, almost crying out with emotion.
Eventually the music finds a more settled flow as soloist and orchestra weave
some exquisite moments to lead to a quiet coda.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">A solo violin over the orchestra brings a lively, sparkling
theme for the <i>Vivace</i> before the
soloist enters with upward rising phrases, soon developed dramatically in the
orchestra. The soloist provides some terrific phrases of intense feeling and
agility. Later there is a dance like passage where the soloist brings a dialogue
with various woodwind instruments rising to a climax to end. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The soloist duets with another bassoon bringing lovely
sonorities<i> </i>to the <i>Passacaglia (Adagio) e Cadenza</i>. Strings
subtly and gently edge in, timpani rumble as the basses join and the music
gains in intensity, the soloist now revealing a melancholy melody that winds
its way forward with bell chimes. Aho develops some quite lovely orchestral
harmonies, finding an inexorable forward movement, gaining in power all the time.
The music falls to a less passionate passage where the soloist weaves gentler
phrases over a beautifully transparent orchestra before leading into a cadenza proper
where the soloist develops the theme through some beautifully conceived
moments, at times with the bassoonist humming an accompaniment whilst playing
before increasing in tempo and drama and running into the final movement. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The orchestra alone rises up majestically in the<i> Presto</i> with woodwind soaring and brass appearing
before the bassoon joins to take the frenetic theme forward. The music swirls
through some terrific orchestral passages, wonderfully played by both soloist
and orchestra. At times the soloist moves right across the bassoon’s range but
later brings a quieter, gentler rather plaintive moment for soloist and
orchestra where a celeste is heard. The orchestra suddenly increases in tempo joined
by the bassoon to rush forward in a terrific lead up to the sudden coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a tremendous concerto of great depth and imagination
that deserves to be taken up by solo bassoonists. Again Bram van Sambeek brings
a wonderful performance as do the Lahti Symphony Orchestra conducted by Dima
Slobodeniouk.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">All in all this is a very welcome release of works that
every admirer of these fine composers will want to hear, especially with bassoon
playing of such a high order.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">They receive tip top recordings and there are excellent
booklet notes from Kimmo Korhonen and Kalevi Aho<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">See also:<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><a href="http://theclassicalreviewer.blogspot.co.uk/2015/04/a-very-fine-violin-concerto-and.html">http://theclassicalreviewer.blogspot.co.uk/2015/04/a-very-fine-violin-concerto-and.html</a><o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><a href="http://theclassicalreviewer.blogspot.co.uk/2014/02/kalevi-ahos-fifteenth-symphony-together.html">http://theclassicalreviewer.blogspot.co.uk/2014/02/kalevi-ahos-fifteenth-symphony-together.html</a><o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><a href="http://theclassicalreviewer.blogspot.co.uk/2013/03/piet-van-bockstal-gives-remarkable.html">http://theclassicalreviewer.blogspot.co.uk/2013/03/piet-van-bockstal-gives-remarkable.html</a><o:p></o:p></span></div>
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<a href="http://theclassicalreviewer.blogspot.co.uk/2012/08/marvellously-played-chamber-symphonies.html"><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">http://theclassicalreviewer.blogspot.co.uk/2012/08/marvellously-played-chamber-symphonies.html</span></a><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com0tag:blogger.com,1999:blog-4426380832683701817.post-49832159685571309942017-02-01T05:46:00.001-08:002017-02-01T05:46:20.277-08:00A welcome premiere recording of Boris Tishchenko’s Symphony No.8 from the St Petersburg State Symphony Orchestra under Yuri Serov <div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The Russian composer <b>Boris
Tishchenko (1939-2010) </b>was born in Leningrad and studied at the Leningrad
Musical College where he learnt composition under Galina Ustvolskaya. He later
studied composition with Vadim Salmanov, Victor Voloshinov and Orest Evlakhov
at the Leningrad Conservatory. After a postgraduate course with Dmitri
Shostakovich he subsequently joined the faculty of the Leningrad Conservatory
going on to become a professor there in 1986.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">His compositions, very much influenced by music of his
teachers Dmitri Shostakovich and Galina Ustvolskaya, include eight symphonies
some of which have appeared on the Olympia and Northern Flowers labels.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Naxos </b><a href="http://www.naxos.com/">www.naxos.com</a> <b>recorded
Tishchenko’s</b> <b><i>Seventh Symphony</i> with the Moscow Philharmonic Orchestra conducted
by Dmitri Yablonsky in 2002. Now from Naxos is the world premiere recording of <i>Symphony No.8</i> coupled with Tishchenko’s <i>Concerto for Violin, Piano and String
Orchestra</i> and <i>Three Songs, Op. 48</i>
played by the St Petersburg State Symphony Orchestra </b><a href="http://spb-orchestra.ru/">http://spb-orchestra.ru</a> <b><i>under Yuri Serov</i></b> <a href="http://www.naxos.com/person/Yuri_Serov/67691.htm">www.naxos.com/person/Yuri_Serov/67691.htm</a>
<b>with
violinist Chingiz Osmanov</b> <a href="http://www.facebook.com/osmanov.chingiz">www.facebook.com/osmanov.chingiz</a>
<b>, pianist Nikolai Mazhara</b> <a href="http://www.mariinsky.ru/en/company/orchestra/piano/mazhara">www.mariinsky.ru/en/company/orchestra/piano/mazhara</a>
<b>and
mezzo-soprano Mila Shkirtil.<o:p></o:p></b></span></div>
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<tr><td class="tr-caption" style="text-align: center;">8.573343</td></tr>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Tishchenko’s <b>Concerto
for Violin, Piano and String Orchestra, Op. 144 (2006) </b>is in four movements
and was dedicated to the composer’s friend Jacques Ioffe.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In the opening <i>Fantasia</i>
the violin brings a plaintive theme which is responded to by the piano and
slowly developed through some fine textures and harmonies, growing slowly more
intense. The orchestra joins, adding a depth and intensity in the basses. As
the movement progresses violin and piano become increasingly angry, developing
some intensely complex textures and harmonies until reaching a rather manic
pitch where violin and piano hurtle over slurred phrases and huge scales. They
fall away to find a melancholic, quiet coda so very reminiscent of Shostakovich
with the violin and piano adding little phrases to conclude. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The piano brings a rapid rhythmic motif in the <i>Rondo</i> to which the strings add a fast
moving theme. The violin joins as the music moves quickly ahead before the
piano duets with a double bass. The piano and violin take the theme, shared with
the string orchestra. There is a moment for pizzicato violin over scurrying
strings before the music moves ahead, with rich string textures, through a
variety of ideas before the opening theme returns on violin and piano to bring
about a decisive coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The orchestra alone brings a slow, heart rending <i>Interlude</i> with the basses adding a
darkness and depth. The music has a tragic quality of stark beauty. There are downward
drooping string phrases that add to the air of melancholy, moving freely
through rising and falling passages, regaining the opening quietness.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>Romance</i> opens with
arpeggios on the piano to which the violin adds a fine flowing melody. The
orchestra gently joins the piano before alone taking the melody. The violin re-joins as this lovely melody
develops through passages of varying dynamics, finding much variety. When the piano
re-joins it brings some rather dissonant phrases. There are passages of greater
dynamics and passion before a section where the solo violin takes pizzicato
phrases over low strings before rising again in passion. There is a terrific
outpouring of invention before the music falls quieter as the violin and hushed
orchestra lead ahead. The piano joins with little arpeggios before the violin and
piano taking us alone again to a hushed coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a work of tremendous substance and depth, given an
excellent performance by both orchestra and soloists.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <b>Symphony No. 8,
Op. 146 (2008) </b>is one of the composer’s last completed works, written when
he was seriously ill. It was written to be performed after Schubert’s Symphony
No.8 ‘Unfinished’, following without a break. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In three movements the strings open the<i> Andantino - Allegro</i> pizzicato, soon joined by a clarinet in a
plodding theme. The strings soon flow over pizzicato low strings. Other
woodwind join before the melody expands across the orchestra rising in dynamics.
Soon there is a jaunty little theme pointed up by a flute, then other woodwind
alternate before taken by the orchestra as the music grows louder. There is a
more flowing passage before the music finds greater drama, rising to a climax before
dropping suddenly to flow more gently ahead to a sudden end. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Brass open the <i>Andante</i>
soon alternating with the strings, slowly varying the theme that is spread
across the orchestra as the melody develops. There is some very distinctive
orchestration as well as some particularly lovely passages for oboe over
pulsating strings. Later the lower strings and woodwind lead gently forward to
the coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In the <i>Allegro</i> the
strings bring a fast moving theme over which woodwind add little staccato
phrases. Brass enter to add a more sinister touch before woodwind and strings
take up the opening fast moving idea, growing in dynamics. Later basses bring a
lumbering version of the theme, to which horns join, then other brass, rising
to a climax with timpani and percussion in insistent phrases that are hammered
out. The woodwind return with staccato phrases before weaving arabesques, the
whole orchestra arriving to rush to a dramatic coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Composer, Leonid Rezetdinov (b. 1961), a pupil of Tishchenko,
made an arrangement in 2014 for mezzo-soprano and chamber orchestra of the <b>Three Songs, Op. 48 to poems by Marina Tsvetayeva
(1970)</b>, originally written with piano accompaniment. The texts chosen take
the themes of love, loneliness and separation. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Percussion taps open rhythmically in<i> No. 1. The Window</i> before the orchestra joins in the spiky little
theme. Mezzo- soprano, Mila Shkirtil joins bringing a quite lovely feel and tone.
A chime brings about a change to a
slower, more flowing moment but almost immediately the percussion bring back
the rhythmic theme that takes us to the conclusion. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">A clarinet and shimmering strings open <i>No. 2. The Leaves</i> Have Fallen, soon joined by the mezzo in this
anxious song that quickly gains in passion and drama with some particularly
effective orchestration. There are some impressive, passionate outbursts from this
very fine mezzo. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>No. 3. The Mirror</i> opens
gently with a harp before the mezzo joins in this lovely little song. Soon the orchestra
enters as the song develops lovely, deeply emotional phrases, so well captured
by Shkirtil before a quite magical, hushed coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The St. Petersburg State Symphony Orchestra under Yuri Serov
deliver first rate performances and are vividly recorded at the St. Petersburg
Radio House Studio, Russia. There are excellent booklet notes from conductor
Yuri Serov. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">See also: </span></div>
<br />
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<a href="http://theclassicalreviewer.blogspot.co.uk/2015/09/nicolas-stavy-gives-formidable.html"><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">http://theclassicalreviewer.blogspot.co.uk/2015/09/nicolas-stavy-gives-formidable.html</span></a><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com0tag:blogger.com,1999:blog-4426380832683701817.post-64000061701108115292017-01-29T05:36:00.000-08:002017-01-29T05:36:25.796-08:00I Fagiolini, Fretwork and organist, James Johnstone show themselves to be totally immersed in the distinctive music of Martin Peerson on a premiere recording from Regent<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The virginalist, organist and composer, <b>Martin Peerson (c.1572-1651)</b> was born in London, England and is
thought to have been sacrist at Westminster Abbey. He also became almoner and
master of the choristers at St. Paul’s Cathedral. His two books of secular vocal
music (1620 and 1630) include settings for up to six voices with instruments
and combine elements of ayre, madrigal, consort song and verse anthem.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>It is the second book
from 1630, entitled <i>A Treatie of Humane
Love</i>, <i>Mottects or Grave Chamber Music</i>,
that receives its premiere recording from I Fagiolini </b><a href="http://www.ifagiolini.com/">www.ifagiolini.com</a> <b>and
Fretwork</b> <a href="http://www.fretwork.co.uk/">www.fretwork.co.uk</a> <b>together
with organist James Johnston</b>e <a href="http://www.jamesjohnstone.org/">www.jamesjohnstone.org</a>
<b>on a new release from Regent Records</b>
<a href="http://www.regent-records.co.uk/">www.regent-records.co.uk</a><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVrZR5wwTxLGWgYjChAlQLZHSRisQT5BNYTCLA2elN3BcL_mqC5alsCnjL4o-4ASYXDoMTV4N8iFTZBzOtH1_BJIRv9MJIBdNNDI1KP05DN7XR0Id5YeWozumsN9gb7pOlqvJQjZ-m-q_a/s1600/81mUessvKJL._SL1417_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVrZR5wwTxLGWgYjChAlQLZHSRisQT5BNYTCLA2elN3BcL_mqC5alsCnjL4o-4ASYXDoMTV4N8iFTZBzOtH1_BJIRv9MJIBdNNDI1KP05DN7XR0Id5YeWozumsN9gb7pOlqvJQjZ-m-q_a/s320/81mUessvKJL._SL1417_.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">REGCD497</td></tr>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Newly edited by Richard Rastall, this collection of song
settings of poetry by Sir Fulke Greville, focuses predominantly on the subject
of love. I Fagiolini and Fretwork bring a lovely, intimate sonority to <i>Love, the delight</i>, weaving a fine
tapestry of sounds with individual voices shining through. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The choir rise to some lovely peaks in<i> Beautie her cover is,</i> finding much poetry with exquisite shaping.
After a beautifully woven <i>Time faine
would stay, </i>I Fagiolini build a fine layer of vocal textures in <i>More than most faire</i> subtly supported by
the chamber organ of James Johnstone. They find some lovely varying tempi that add
so much to the dramatic effect of this motet.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This choir bring some quite lovely textures to<i> Thou window of the skie</i> underlined by
particularly fine, rich lower voices achieving some fine harmonies. Fretwork
brings a lovely spring to the opening of <i>You
little starres</i> to which I Fagiolini add a buoyant, humorous touch,
individual voices bringing much delight. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The mournful <i>And thou,
O Love</i> brings a real contrast with the lovely individual voices of I
Fagiolini finding a real beauty as well as some particularly fine vocal
expression, rising in strength before the end. The choir and instrumentalists
bring some wonderful textures and sonorities to <i>O Love, thou mortall speare</i>, again with a wonderfully fluid tempo.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>If I by nature</i> brings
a lovely expressive blend with some lovely harmonies, beautifully done by these
artists. <i>Cupid, my prettie boy</i> is another
motet with a buoyant, light-hearted touch, again with fine harmonies, having
something of the feel of music for a masque with great characterisation from
individual voices. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>Love is the peace</i> has
a lovely flow with fine instrumental accompaniment to the overlaying of vocal
lines from I Fagiolini who bring moments of superb vocal control. The choir
bring much fine emphasis to the mournful <i>Selfe
pitties teares</i> with rich harmonies and fine expression. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Fretwork and organist James Johnstone introduce <i>Was ever man so matcht with boy?</i> to
which individual voices slowly join to bring another light-hearted, finely
blended piece with beautifully overlaid vocal lines. Fretwork open <i>O false and treacherous probabilitie</i> with
fine sonorities to which the voices of I Fagiolini join to add a lovely weaving
of finely characterised lines together with more exquisite vocal control.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Tenor Hugo Hymas together with organist James Johnstone and
Fretwork open <i>Man, dreame no more</i>
bringing some quite wonderful sonorities before the rest of I Fagiolini in this
lovely slow, beautifully wrought, motet. Baritone, Greg Skidmore brings a fine
rich flexible voice to the opening of <i>The
flood that did/When thou hast swept</i> later joined by the rest of the choir.
Later the rich, fine bass voice of Jimmy Holliday is heard, finely accompanied.
<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The gentle<i> Who trusts
for trust</i> (gap) is nicely developed with sensitive accompaniment from the
organist. This choir show more fine vocal control and expression. There is a
beautiful transition into <i>Who thinks that
sorrows felt</i> where the choir bring some lovely phrasing and vocal overlay.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There are more beautiful sonorities as <i>Man, dreame no more</i> slowly unfolds, wonderfully shaped. A terrific
performance. The rich bass voice of Jimmy
Holliday opens <i>Farewell, sweet boye</i>.
This is a lighter piece to which the rest of the choir add terrific character,
buoyantly supported by Fretwork and James Johnstone. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The organ opens<i> </i>a
very fine <i>Under a throne</i> quickly
joined by the choir and Fretwork, the choir showing tremendous vocal agility.
In <i>Where shall a sorrow</i> Fretwork
weave a lovely opening to which Greg Skidmore brings a mournful, beautifully
shaped line before all join in some fine harmonies. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Greg Skidmore and Fretwork continue with a lovely melancholy
<i>Dead, noble Brooke</i>, I Fagiolini
bringing a beautifully shaped conclusion. The choir blend a fine <i>Where shall a sorrow </i>bringing a lovely
texture and rising through some terrific passages before leading into a lovely
six part <i>Dead, noble Brooke</i>, I
Fagiolini’s voices finely woven and blended with a superb subtle accompaniment
from Fretwork and the organ of James Johnstone with some glorious harmonies. </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">I Fagiolini, Fretwork and organist, James Johnstone show
themselves to be totally immersed in this distinctive composer’s music making
it a terrific addition to the catalogue. They receive a beautifully balanced
recording from The National Centre for Early Music, York, England and there are
excellent notes from Professor Richard Rastall of Leeds University and Gavin Alexander
of the University of Cambridge. </span></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com0tag:blogger.com,1999:blog-4426380832683701817.post-59369029333393036862017-01-25T06:59:00.001-08:002017-01-25T06:59:56.777-08:00Daniel Grimwood brings an assurance and authority to piano works by Adolph von Henselt on a new release from Edition Peters <div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Adolph von Henselt
(1814-1889)</b> <a href="http://www.henseltsociety.org/">www.henseltsociety.org</a>
was born at Schwabach in Bavaria. After commencing violin and piano studies at
an early age he went on to study under Johann Nepomuk Hummel (1778-1837) in
Weimar. He later travelled to Vienna,
where he undertook composition lessons with Bruckner’s teacher, Simon Sechter (1788-1867),
whilst becoming successful as a concert pianist. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In 1837, he settled at Breslau, where he married but the
following year migrated to St. Petersburg where became court pianist and
inspector of musical studies in the Imperial Institute of Female Education. He
made a number of visits to England but St. Petersburg was his home until his
death during a visit to Warmbrunn, Germany (now in Poland).<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Most of Henselt’s compositions are for piano and date from
the earlier years of his life. His influence on the next generation of Russian
pianists was immense, his playing and teaching greatly influencing the Russian
school of music. Sergei Rachmaninoff held him in very great esteem and
considered him one of his most important influences.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Daniel Grimwood’s </b><a href="http://www.danielgrimwood.co.uk/">www.danielgrimwood.co.uk</a> <b>new recording for Edition Peters</b> <a href="http://www.editionpeters.com/eps">www.editionpeters.com/eps</a> <b>provides
a good cross section of Henselt’s piano music from his <i>Op. 1 Variations de concert sur le motif de l’opéra ‘L’elisire d’amore’
(1830)</i> to his <i>Ballade, Op. 31 in B
flat major (1854).</i><o:p></o:p></b></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVo6OMj6CIow-OsxXupZSybsxaxzyLFsp9-eFpyPJ_SMazDjU02km2t1E-d_vkqWLXhIh35HS6GQDh7zsPaK0adtBznPP6BM8P8Rl0YWAPGDN7ozTUAZ0deWs6-e3Jy3aDJYqsFJ_ZRR24/s1600/71gX8N80oQL._SL1000_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVo6OMj6CIow-OsxXupZSybsxaxzyLFsp9-eFpyPJ_SMazDjU02km2t1E-d_vkqWLXhIh35HS6GQDh7zsPaK0adtBznPP6BM8P8Rl0YWAPGDN7ozTUAZ0deWs6-e3Jy3aDJYqsFJ_ZRR24/s320/71gX8N80oQL._SL1000_.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">EPS 005</td></tr>
</tbody></table>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Daniel Grimwood brings a lovely poise to the opening of the <b>Variations de concert sur le motif de
l’opéra ‘L’elisire d’amore’ in E major, Op. 1 (1830) </b>contrasted with sudden
rapid and fluent responses before moving through passages of tremendous
assurance with Schumannesque phrasing. This pianist brings a terrific fluency,
quite beautiful phrasing and a real sense of spontaneity as well as a really
lovely tone. This is an impressive and substantial set of variations, particularly
as this was Op.1. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Of <b>Deux petites
Valses, Op. 28</b> <b>(1854) </b>there is<b> </b>a rather sultry <i>No. 1 in F major</i> with
Grimwood finding a lovely ebb and flow, beautifully shaping the music. <i>No. 2 in C major</i> again finds this
pianist with a lovely, subtle rubato, later pushing this fine waltz forward a
little more.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Grimwood finds the subtle rhythmic quality to <b>Mon chant du cygne (‘Mein Schwanengesang’)
WoO in A flat major (published in 1885) </b>with wonderful phrasing and an
equally subtle rubato with occasional hints of Chopin peering through.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Fantaisie sur un air bohémien-russe,
WoO (Op. 16) in A flat major (1843) </b>brings another waltz rhythm with some harmonies.
The music builds in strength through some tremendous passages offset by moments
of great poetry. This pianist brings a lovely lilt to the quieter moments, still
maintaining a lovely flow as this develops into a rather magical piece, especially
in this pianist’s hands. The music rises through another dynamic passage before
the coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There is a fast flow to <i>No.
1 ‘Schmerz im Glück’ in E flat minor</i>
of <b>Deux Nocturnes, Op. 6</b> <b>(1839) </b>Grimwood finding a darkness to
this music only rarely relieved by light. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>No. 2 ‘La Fontaine’ in
F major</i> recalls more of Schumann than Chopin or Field with this pianist
finding a lovely tempo, a constant underlying flow over which the melody runs. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Grinwood’s fabulous phrasing and rubato really lift the <b>Valse mélancolique, Op. 36 in D minor (1857)
</b>with a lovely trio section and occasional hints of Chopin this is a lovely
work. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The substantial <b>Ballade,
Op. 31 in B flat major (original version 1854, second version 1854, third
revision 1879) </b>has<b> </b>thoughtful
opening arpeggios before the melody emerges to flow forward. Grimwood brings a
beautifully rich piano tone, a real strength with his wonderful phrasing adding
to the expansiveness of many passages. The music rises through some terrific
passages, stormy in character, moving quickly ahead with lovely fluency. This
pianist finds so many details, sudden changes and ideas as the music
momentarily regains its turbulent quality only to lighten in mood. When the
music rises again through some tremendous, fast and furious passages Grimwood provides
great virtuosity with sudden outbursts before quietening to lead to a settled
coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a fabulous work, brilliantly played. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <b>Four Impromptus</b>
are not a set, as they range across Henselt’s lifetime. The brief <i>Impromptu No. 1, Op. 7 in C minor</i> <i>(1838)</i> finds a lovely forward pushing
flow, Grimwood finding just the right pace and touch. <i>Impromptu No. 2, Op. 17 in F minor</i> <i>(1843) </i>has a lovely rippling, forward movement with this pianist
bringing a wonderful fluency and rubato. No’s 3 and 4 are longer with <i>Impromptu No. 3, Op. 34 ‘Illusion perdue’ in
B flat minor</i> <i>(1854–1855) </i>bringing
a slower opening that precedes a steadier forward flow through some quite
lovely ideas, often rather melancholy in feel, before a beautifully turned coda.
<i>Impromptu No. 4, Op. 37 in B minor</i> <i>(1859)</i> has a lighter feel, moving
quickly forward with a fast rhythmic idea, gaining even more in tempo through
some very fine moments where Grimwood finds a real zest and energy. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Vöglein-Etüde (‘Si
oiseau j’etais’) Op. 2, No. 6 in F sharp major (1837–1838) </b>brings a fast
moving, delicate theme with subtly varying rhythms, this pianist showing again
his terrific agility and phrasing and a fine lightness of touch before a
quieter coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Chopin subtly appears again in the <b>Berceuse ‘Wiegenlied’, WoO (Op. 45) in G flat major (1840) </b>but, as
is usually the case with Henselt, he has his own voice, adding many exquisite
touches. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Broad, expansive chords open the <b>Grande Valse ‘L’aurore boréale’ (‘Das Nordlicht’) in C sharp minor, Op.
30 (1854) </b>before the waltz theme appears, given a lovely rhythmic lift here
by Grimwood, beautifully shaped with a lovely rhythmic buoyancy through the
many twists and turns of this fine piece before a spectacularly fine coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Daniel Grimwood brings such an assurance, such an authority
that one is convinced by these works that should prove a real discovery to
many. He is fabulously recorded at the Markgrafensaal,
Schwabach, Germany and there are excellent booklet notes from Daniel Grimwood. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">See also: </span></div>
<br />
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<a href="http://theclassicalreviewer.blogspot.co.uk/2015/01/music-publishers-edition-peters-launch.html"><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">http://theclassicalreviewer.blogspot.co.uk/2015/01/music-publishers-edition-peters-launch.html</span></a><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com0tag:blogger.com,1999:blog-4426380832683701817.post-9541242455892022992017-01-24T04:14:00.001-08:002017-01-24T04:14:28.986-08:00Performances of tremendous insight and depth from Peter Donohoe on a new release of Scriabin’s complete sonatas from Somm <div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Following on from
Peter Donohoe’s</b> <a href="http://www.peter-donohoe.com/">www.peter-donohoe.com</a>
<b>masterly
performances of Prokofiev’s sonatas<o:p></o:p></b></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><a href="http://theclassicalreviewer.blogspot.co.uk/2016/06/an-unbeatable-disc-from-somm-recordings.html">http://theclassicalreviewer.blogspot.co.uk/2016/06/an-unbeatable-disc-from-somm-recordings.html</a>
<b>Somm Recordings</b> <a href="http://www.somm-recordings.com/">www.somm-recordings.com</a> <b>now brings an equally impressive release of
Scriabin’s</b> <b>complete sonatas. <o:p></o:p></b></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS_6QOTyW5YT2tKn7CJ_9m1X6NiLk7l9GHsjZaW66Poq4QjRh3JF4j5BNNxJyktMimx2VcRWMncIPjtgpup-tSBf_7j9U2GTykaq-R7umWN4b9CWmD5vyPNGOyBfsOm0RUPp_MRyHxOzpr/s1600/262-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS_6QOTyW5YT2tKn7CJ_9m1X6NiLk7l9GHsjZaW66Poq4QjRh3JF4j5BNNxJyktMimx2VcRWMncIPjtgpup-tSBf_7j9U2GTykaq-R7umWN4b9CWmD5vyPNGOyBfsOm0RUPp_MRyHxOzpr/s320/262-2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2CD<br />SOMMCD 262-2</td></tr>
</tbody></table>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Alexander Scriabin
(1872-1915)</b> <a href="http://www.scriabinsociety.com/">www.scriabinsociety.com</a>
studied with Nikolai Zverev (1832-1893) and at the Moscow Conservatory where
his teachers were Sergei Taneyev (1856-1915), Anton Arensky (1861-1906) and Vasily
Safonov (1852-1918). Initially influenced by Chopin, he moved on to develop a
very personal style of composition highly influenced by his personal beliefs in
mysticism and theosophy.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Listening to these two new discs one can follow Scriabin’s
development from the early sonatas through to the freedom and ecstasy of his
later works with Donohoe drawing together the points of contact between the
volatility of his later sonatas even in <b>Piano
Sonata No. 1 in F Minor, Op. 6 (1892)</b>. He particularly points up a remarkably
turbulent quality in the opening <i>Allegro
con fuoco </i>finding lovely little rhythmic complexities and so many
subtleties in the quieter moments, hints of the composer’s <i>F sharp minor Piano Concerto (1896)</i> showing through. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In the second movement, <i><!--[if gte vml 1]><v:shape id="Picture_x0020_2"
o:spid="_x0000_i1025" type="#_x0000_t75" style='width:7.5pt;height:15pt;
visibility:visible;mso-wrap-style:square'>
<v:imagedata src="file:///C:\Users\B&DREA~1\AppData\Local\Temp\msohtmlclip1\01\clip_image003.jpg"
o:title="crotchet"/>
</v:shape><![endif]--><!--[if !vml]--><img border="0" height="20" src="file:///C:/Users/B&DREA~1/AppData/Local/Temp/msohtmlclip1/01/clip_image004.jpg" v:shapes="Picture_x0020_2" width="10" /><!--[endif]--> = 40</i>, Donohoe reveals a hauntingly
beautiful, somewhat desolate <i>Lento</i>,
wonderfully laid out with superb poetic sensitivity, bringing a great depth as
the movement progresses, subtly adding a sense of anguish. The <i>Presto</i>
brings a fast moving volatility, this pianist providing tremendous strength.
There is a slackening of intensity midway before moving through some
wonderfully fleet and dramatic passages to a conclusion that brings a moment of
impassioned violence before a more settled coda. The final <i>Fun</i><i>èbre</i> is stunningly intense moving through moments of hushed,
emotionally chilled calm before building inexorably, full of the heavy burden
of emotion, to a desperate coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The two movement <b>Piano
Sonata No. 2 in G Sharp Minor, Op. 19, ‘Sonata-Fantasy’ (1892-97) </b>opens
with an <i>Andante</i> that has a rather
unstable, rhythmic quality before moving through some quite lovely delicate and
hauntingly beautiful passages. Donohoe brings his exquisite phrasing full of little
variations and decorations as well as a lovely delicacy with trickling
passages. Yet there is an underlying strength never far away and a much aching
melancholy. Donohoe shows his phenomenal virtuosity in the <i>Presto</i> with passages of tremendous fluency and agility with a
degree of abandonment as he hurtles forward, always shaping this music wonderfully
and finding some quite lovely little details. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Scriabin’s <b>Piano
Sonata No. 3 in F Sharp Minor, Op. 23 (1897-98) </b>returns to the four
movement format. What a wonderful opening there is to the <i>Drammatico</i>, Donohoe again finding an instability as the bold
phrases are presented, always with a great subtlety of phrasing, dynamics and
tempo as well as moments of exquisite poetry. Turbulence opens the <i>Allegretto</i>, this pianist finding a
terrific volatility, always controlled yet with a forward drive, building this
movement wonderfully. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In the lovely <i>Andante,</i>
Donohoe allows the pace to slacken with some beautifully turned phrases, so
poetic, full of intense feeling, catching every little detail before the
dramatic <i>Presto con fuoco</i> where,
nevertheless, he finds moments of tranquillity before surging ahead through
some terrific passages to a wonderfully resolved coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">We move into new territory as the two movement <b>Piano Sonata No. 4 in F Sharp Major, Op. 30
(1903) </b>opens with a gentle <i>Andante</i>.
There is an emotional distance here with subtly shifting harmonies wonderfully
brought out by this pianist, slowly adding right hand decorations before
leaping into the rhythmically buoyant <i>Prestissimo
volando</i>. Donohoe allows this movement to develop so naturally out of the
material from the Andante with some quite wonderful moments where this
pianist’s light and fleet touch is shown. The music rises in strength through
some wonderfully sprung bars before the coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"> <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In its single span <b>Piano
Sonata No. 5, Op. 53 (1907) </b>moves through a variety of moods with its
markings of <i>Allegro – Impetuoso – Con
stravaganza – Languido – Presto con allegrezza</i>. Donogoe brings a terrific
contrast between the violent opening bars and the succeeding gentler, delicate
flow, moving through more volatile passages where Donohoe brings a terrific
power. He makes such sense of the alternating nature of the sonata between
volatile and poetic, shaping and pacing wonderfully bringing such a beautifully
light touch to fluid passages. He creates some moments of intense instability
of mood before finding a very fine coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">An<i> </i>instability of
mood pervades the opening of Scriabin’s <b>Piano
Sonata No. 6, Op. 62 (1911)</b> marked <i>Mod</i><i>ére.
</i>There are dark, gloomy phrases offset by little shafts of light in the
right hand creating a mysterious, rather threatening atmosphere. Donohoe’s
superb phrasing and control of dynamics and tempo reveals a haunting depth. He
builds through some seriously violent moments finding an alarmingly frenetic
pace that adds to the terrifying nature of this work, revealing it as a work of
great emotional insecurity. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Piano Sonata No. 7,
Op. 64, ‘White Mass’ (1911)</b>, marked <i>Allegro
</i>opens with surges of volatility, Donohoe finding so much of the atmosphere
and depth as the work develops. There are moments of darkness and light woven
around each other with little delicate passages appearing, so fluently played.
Donohoe achieves a tremendous power and strength before falling back to find a
calm, short lived moment leading to a fine coda that leaves us with uncertainty.
<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The opening <i>Lento</i>
of <b>Piano Sonata No. 8, Op. 66 (1912-13) </b>is
quite wonderfully paced allowing the harmonic instabilities to emerge clearly.
There is a lovely ebb and flow as the music moves forward soon finding an
excitable forward push as the <i>Allegro
agitato</i> arrives. Donohoe’s development of the increasing volatility, his handling
of the sudden dynamic chords is wonderful, moving through a gentler section that
as quickly rises again before a gentler coda. <b><o:p></o:p></b></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Piano Sonata No. 9,
Op. 68, ‘Black Mass’ (1912-13)</b> marked <i>Moderato
quasi andante</i> has a haunting opening that is soon developed by Donohoe
through some astonishing passages, punctuated by the gentlest of moments,
beautifully played, this pianist always keeping a hint of a more intense
strength just held in check. He eventually allows an increase in tempo to drive
powerfully to a quite overwhelming pitch, only to drop to a hushed simple coda,
a restatement of the opening. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"> <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">As<b> Piano Sonata No.
10, Op. 70 (1913) </b>opens a quizzical little <i>Moderato </i>theme is gently developed with Donohoe providing an
impressively light, limpid touch. Increasingly Scriabin’s trills appear,
Donohoe integrating the faster trills and the gentler theme. Throughout the <i>Allegro</i> there are wonderful moments of
gentle respite out of which the trills flourish. This pianist brings a sense of
luminosity, a light that shines through superbly developing the music as it
rises through spectacularly fine passages. Donohoe achieves terrific dynamic
contrasts, terrific power, suddenly reduced to quieter moments before finding a
fast, delicate, lightly tripping passage with staccato phrases leading to a
hushed re-statement of the opening. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Vers La Flamme, Op.
72 (1914)</b> sits perfectly at the end of this cycle of extraordinary sonatas.
From a slow, considered opening Donohoe slowly develops the music through
passages of subtly increasing tension and harmonies, knowing just how to pace
this piece, delivering astonishingly power as the music travels towards its
inexorable conclusion. A stunning performance. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Peter Donohoe manages to tie these works together as a
logical development, finding points of contact. He has it all, superb
technique, a sense of poetry, subtlety in tempi, rhythms and dynamics and above
all a deep understanding of Scriabin, finding new depths.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">He receives a very natural recording from the Turner Sims
Concert Hall, University of Southampton, England and there are excellent
booklet notes. </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Here are performances of tremendous insight which are not to
be missed. </span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com0tag:blogger.com,1999:blog-4426380832683701817.post-2238866117811164752017-01-20T04:50:00.002-08:002017-01-22T08:37:18.995-08:00British composer, Peter Seabourne’s spectacularly fine Violin Concerto premiered in Germany<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDrHa1KHGjaaVNJf7tfODFP74GtYGbe8MgS6h2XvD1fqzWAmo00bz2BRpE-qqmtBm7semP1W0KjrwNWHBdYZlCLQq7OpdhF6hss71k6YoDV8q2f09pTDGQQPBGrF7pHfRMQOVYCsq_QBkL/s1600/DKN_Logo_Sonderfarbe-Kopie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDrHa1KHGjaaVNJf7tfODFP74GtYGbe8MgS6h2XvD1fqzWAmo00bz2BRpE-qqmtBm7semP1W0KjrwNWHBdYZlCLQq7OpdhF6hss71k6YoDV8q2f09pTDGQQPBGrF7pHfRMQOVYCsq_QBkL/s320/DKN_Logo_Sonderfarbe-Kopie.jpg" width="320" /></a></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;"><b>British composer, Peter
Seabourne’s</b> <a href="http://www.peterseabourne.com/">www.peterseabourne.com</a>
<b><i>Violin Concerto</i> was recently premiered
in its complete form in Germany by Fenella Humphreys</b> <a href="http://www.fenellahumphreys.com/">www.fenellahumphreys.com</a> <b>with
the Deutsche Kammerakademie Neuss</b> <a href="http://www.deutsche-kammerakademie.de/">www.deutsche-kammerakademie.de</a>
<b>conducted
by Lavard Skou Larsen</b> <a href="http://www.lavardskoularsen.com/">www.lavardskoularsen.com</a>
<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">The first two movements of the concerto were composed in
2003 and recorded by Sheva <a href="http://www.shevacollection.it/">www.shevacollection.it</a>
with violinist Irina Borissova and the Mainzer Virtuosi conducted by Dmitri
Khakalin. The composer was commissioned to write a third movement to make this
a full scale concerto.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">It is with the kind permission of the composer and artists that
I am able to provide the following links to the unedited live performance in
order for a wider public to hear this wonderful concerto. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.peterseabourne.com/mp3s/violin_concerto/violin_concerto_1.mp3"><span style="font-size: 13.5pt;">1. Appassionato</span></a><span style="font-size: 13.5pt;"><br />
</span><a href="http://www.peterseabourne.com/mp3s/violin_concerto/violin_concerto_2.mp3"><span style="font-size: 13.5pt;">2. Dolce Semplice</span></a><span style="font-size: 13.5pt;"><br />
</span><a href="http://www.peterseabourne.com/mp3s/violin_concerto/violin_concerto_3.mp3"><span style="font-size: 13.5pt;">3 Volante Furioso</span></a><span style="font-size: 13.5pt;"> </span><o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">Peter Seabourne’s <b>Violin
Concerto </b>opens with broad, dramatic string chords from the orchestra that
introduce the first movement <i>Appassionato</i>.
They are quickly joined by an equally dramatic violin line that brings some
formidable playing from soloist, Fenella Humphreys. Eventually the music gives
way to a calmer, lyrical episode that nevertheless retains a degree of tension.
The soloist and orchestra create a fine dialogue as the movement develops through
passages of terrific invention, slowly increasing in animation. Later there is
a slower passage for the soloist over a deep held, hushed orchestral background
as the violin brings a kind of accompanied cadenza with this soloist finding
some exquisite moments as the orchestra gently expands whilst the soloist
rhapsodises. The tempi picks up to bring back the opening dynamism, though now
with a beautifully rich swirl of orchestral textures before the strings chords
of the opening bring a sudden end.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">In the <i>Dolce semplice</i>
the soloist brings a haunting theme over a gentle orchestral accompaniment.
This is a quite lovely moment. Again there is a fine dialogue between soloist
and orchestra, working through some lovely little details as the music develops.
There is some beautifully shaped phrasing from soloist and orchestra allowing this
finely developed movement to reveal its many beauties. The music slowly finds a
greater passion with the orchestral strings adding greater texture before
finding a hush in the wonderful coda.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">In the concluding <i>Volante
furioso, </i>the orchestra brings a swirling, descending string passage to
which the soloist adds an energetic theme. Both soloist and orchestra push
ahead through some dramatic bars before the soloist introduces a calmer moment
before developing through some terrific ideas, increasing in drama again. The
music is constantly shifting between passion and a gentler nature, in many ways
bringing together the character of the first two movements. The soloist brings some
particularly fine textures, developing through some more expansive moments. The
orchestra provides some beautifully shaped phrases to which the soloist
responds with an increasing sense of passion and drama before finding the coda.
<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">This is a spectacularly fine work from a composer who seems
to grow in stature with every work that he produces. Both soloist and orchestra
give a very fine performance. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">We urgently need more recordings as well as UK performances
of this fine composer’s work.<o:p></o:p></span><br />
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">See also:<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;"><a href="http://theclassicalreviewer.blogspot.co.uk/2016/07/peter-seabournes-symphony-of-roses-is.html">http://theclassicalreviewer.blogspot.co.uk/2016/07/peter-seabournes-symphony-of-roses-is.html</a><o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;"><a href="http://theclassicalreviewer.blogspot.co.uk/2016/04/the-world-premiere-of-peter-seabournes.html">http://theclassicalreviewer.blogspot.co.uk/2016/04/the-world-premiere-of-peter-seabournes.html</a><o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;"><a href="http://theclassicalreviewer.blogspot.co.uk/2015/11/peter-seabournes-pieta-recently.html">http://theclassicalreviewer.blogspot.co.uk/2015/11/peter-seabournes-pieta-recently.html</a><o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;"><a href="http://theclassicalreviewer.blogspot.co.uk/2015/09/pianist-alessandro-viale-shows.html">http://theclassicalreviewer.blogspot.co.uk/2015/09/pianist-alessandro-viale-shows.html</a></span><o:p></o:p><br />
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CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com0tag:blogger.com,1999:blog-4426380832683701817.post-53234778563705629982017-01-15T07:58:00.000-08:002017-01-15T07:58:11.627-08:00The Norwegian Soloists’ Choir under their Music Director, Grete Pedersen achieve the most wonderful results on their new disc for BIS of works by Nørgård, Lachenmann, Janson, Saariaho and Xenakis, taking choral singing to a new level<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The Norwegian Soloists’ Choir <a href="http://solistkoret.no/">http://solistkoret.no</a>
was established in 1950 by the Norwegian Soloists’ Society with the aim of
becoming an elite ensemble for performing choral music to the highest possible
standard. The choir’s first conductor was Knut Nystedt, who led the ensemble
for forty years. Since 1990 the choir has sung under the leadership of the internationally
acclaimed Grete Pedersen, undertaking a great number of concerts in Scandinavia,
the USA and Asia as well as recordings. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The members of the Norwegian Soloists’ Choir are
professionally trained, hand-picked singers, all of whom are potential soloists.
The choir maintains a youthful profile, receptive to and willing to perform
newly written works, while at the same time performing core classical works
from the Nordic and international choral repertoire.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The Norwegian Soloists’ Choir have made a number of
recordings for BIS Records <a href="http://bis.se/">http://bis.se</a> of which
their latest is entitled <i>As Dreams</i>
featuring works by Per Nørgård, Helmut Lachenmann, Alfred Janson, Kaija Saariaho
and Iannis Xenakis that reflect the idea of night and dreams. They are joined
on this new release by the Oslo Sinfonietta.<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-zK0uF3JBk8sF6fLRDINdSXJGbSyHbYl-zmzeGj3PfsejcS8dJhidG05ZrYWJ_7aNNlPRxJ4-xgbEk6wS40LoOa2wLl6sHf2QHHrAgJ5A6L70fkavauwtXNi3SRaKf0pZJXtrKV5MwtVQ/s1600/71vm1H7yaqL._SL1417_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-zK0uF3JBk8sF6fLRDINdSXJGbSyHbYl-zmzeGj3PfsejcS8dJhidG05ZrYWJ_7aNNlPRxJ4-xgbEk6wS40LoOa2wLl6sHf2QHHrAgJ5A6L70fkavauwtXNi3SRaKf0pZJXtrKV5MwtVQ/s320/71vm1H7yaqL._SL1417_.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SACD<br />BIS - 2139</td></tr>
</tbody></table>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Drømmesange (Dream
Songs) (1981) </b>for mixed choir and percussion ad lib by the Danish composer,
<b>Per Nørgård (b.1932) </b><a href="http://www.pernoergaard.dk/">www.pernoergaard.dk</a><b> </b>has its origins in a song written for a radio play by Danish
author Finn Methling who adapted the text from a Chinese original. It described
a boy’s dream about his future self. This new work presents the same dream in
three ways. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">A solo soprano sings over a beautifully blended wordless
choral layer in the evocative <i>Utopia</i>.
Nørgård brings some lovely touches, beautiful harmonies and attractive little
details. A drum joins to add a rhythm behind the choir, bringing a rather timeless
feel. The music picks up a greater rhythm in <i>Ambiguous</i>, driving forward until a drum alone continues, slowly
falling. The music picks up as the choir re-joins with changes in the rhythm as
the drum leads to <i>Nightmare</i>, gaining
in intensity as the choir bring some pretty earthy, rhythmic moments until
rising to a violent tam-tam stroke. The opening slow and atmospheric choral idea
returns with hushed tam-tam colouring the music. Bells sound before the choir
leads quietly and gently forward, rising through some terrific bars, with a
variety of percussion to the coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Helmut Lachenmann (b.1935)</b>
<a href="http://www.breitkopf.com/composer/561">www.breitkopf.com/composer/561</a>
was born in Stuttgart and was the first private student of Luigi Nono (1924-1990).
His <b>Consolation II (Wessobrunner Gebet)
(Wessobrunner Prayer) (1968) </b>for 16 voices (mixed choir) is based on
fragments of language taken from the oldest existing Christian text in German. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The choir bring some unusual vocal sounds as the music
opens, chirps, hisses, screeches and shouts, yet combining to make an
atmospheric whole, rising and falling as the text is sung and declaimed through
a variety of passages. This remarkable work shows just how fine and flexible
this choir is. They travel through a very hushed section where one can just
perceive the vocal sounds bringing a rather ghostly atmosphere. Often the choir
is used orchestrally with individual singers weaving their sounds. They rise
through a section with shrill whistles and exclamations before arriving at
another hushed section with the most amazing, strange vocal utterances. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The Norwegian pianist and composer<b>, Alfred Janson (b.1937) </b><a href="http://www.mic.no/mic.nsf/doc/art2002101118511948764476">www.mic.no/mic.nsf/doc/art2002101118511948764476</a>
sets a text from Friedrich Nietzsche’s (1844-1900) <i>Also sprach Zarathustra</i> for his <b>Nocturne (1967) </b>for double choir, 2 cellos, harp and 2
percussionists. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The female voices of the Norwegian Soloists' Choir slowly
and gently enter with quite lovely harmonies to which the two cellos soon add subtle
and wiry textures, combining the string textures with the choir and harp, with
percussion colouring the texture. They rise through some quite ethereal moments,
through which the text eventually runs, before building in strength, drums adding
to the drama. Very soon the music quietens. There are cymbal strokes as the
music finds a lovely ebb and flow, beautifully coloured by percussion with the
choir providing the most lovely textures and harmonies. The music builds to a
pitch with a series of vocal and percussion outbursts before the cellos and
harp appear through the vocal texture as we are taken to a hushed coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a quite wonderful work.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The Finnish composer, <b>Kaija
Saariaho (b.1952)</b> <a href="http://saariaho.org/">http://saariaho.org</a><b> </b>takes a text by Friedrich Hölderlin (1770-1843) to contrast
light and dark as a trance like<b> </b>interplay
between past and present<b> </b>in<b> Überzeugung (Conviction) (2001) </b>for
three female voices, crotale, violin and cello. In this brief work the violin
brings chords over a pizzicato cello before the three female voices enter
combining with the violin to produce some lovely, melancholy ideas before
gently finding the coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Per Nørgård’s Singe
die Gärten, mein Herz, die du nicht kennst</b> (<b>Sing, my heart, of the gardens you do not know) (1974)</b> for eight
part choir and eight instruments, is an independent part of his <i>Symphony No.3</i> <i>(1972-75)</i> and sets Sonnet 21 from the second part of Rainer Maria
Rilke’s (1875-1926) <i>Sonnets to Orpheus.</i><o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The instruments sound out as the choir brings the text,
rising through some especially fine passages before continuing the little vocal
declamations within the expanding choral line. There are some lovely harmonic
shifts as well as so many lovely instrumental details, with this choir rising
through some terrific passages. They provide a gentle pulse as the music rises
and falls with the instrumentalists and choir finding some very fine harmonies,
achieving the most wonderfully subtle effects. Later a solo female voice rises
out of the texture before the music moves through the most lovely instrumental
textures, with the choir, to a spectacularly fine coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a strikingly beautiful setting.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Iannis Xenakis
(1922-2001) </b><a href="http://www.boosey.com/composer/Iannis+Xenakis">www.boosey.com/composer/Iannis+Xenakis</a>
fled his native Greece and became a naturalised French citizen. His <b>Nuits (Nights) (1967-68) </b>for 12 mixed
voices or mixed choir was dedicated to political prisoners and creates a
landscape of strange sounds from lost languages such as Assyrian and Sumerian. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Female voices sound out violently, soon joined by the male
voices, alternating before they weave their sounds. The choir create a rising
and falling texture of stunning brilliance with declamatory passages. This
choir responds to this exacting music with terrific skill, soaring through some
wonderful passages. There are some exceptional vocal effects as they move through
passages of stunning vocal agility and fine textures before arriving at a
hushed coda on rich vocal textures, with a final declamation. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is an often exacting, but spectacularly original work
sung to perfection by this outstanding choir. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Kaija Saariaho’s Nuits,
adieux (1991/96) </b>for mixed choir and four soloists consists of two series
of passages, ‘nights’ and ‘farewells’ drawing on novels by Jacques Roubaud (b.1932)
and Honoré de Balzac (1799-1850).<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The choir opens gently, soon overlaid by a female soloist.
There are vocal murmurings as the music progresses, creating a terrific
atmosphere. A solo female voice speaks the text, though verging on sprechgesang.
The voices gently weave a rising and falling choral line with detailed little
vocal sounds, almost gentle sighs in this quite wonderful evocation of night.
The music rises through a passage of greater intensity before a tenor solo
takes the text over choral background. Breathing sounds grow increasingly
intense before gasps, vocal whoops and screams bring a dramatic sequence, perhaps
the terrifying aspect of night. A bass takes the text slowly forward over a
languid choral backdrop where there are some especially fine harmonies before
finding a gentle hushed coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There is much beauty here, often clothed in the most
adventurous harmonies and vocal ideas. The Norwegian Soloists’ Choir under
their Music Director, Grete Pedersen achieve the most wonderful results, taking
choral singing to a new level. </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">They receive a tip top recording from the Ris Kirke, Norway.
There are excellent booklet notes by Erling Sandmo from which I have been grateful
to quote as well as full texts and English translations. </span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com0tag:blogger.com,1999:blog-4426380832683701817.post-7795514943604762562017-01-11T08:14:00.003-08:002017-01-11T08:14:55.733-08:00Lively, idiomatic performances of Rodrigo’s Chamber Music with Violin on a new release from Naxos<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The Spanish composer, <b>Joaquín
Rodrigo (1901-1999)</b> was born in Sagunto, Valencia and lost most of his
sight at the age of three after contracting diphtheria. He began to study piano and violin at the age
of eight before going on to study music under Francisco Antich in Valencia and
under Paul Dukas (1865-1935) at the École Normale de Musique in Paris. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">His first published compositions date from 1940 and in 1943
he received Spain's National Prize for Orchestra for <i>Cinco piezas infantiles</i> (Five Children's Pieces). From 1947 Rodrigo
was a professor of music history, holding the Manuel de Falla Chair of Music in
the Faculty of Philosophy and Letters, at Complutense University of Madrid. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">His most famous work, the <i>Concierto de Aranjuez</i>, was composed in 1939 in Paris for the
guitarist Regino Sainz de la Maza. Of his other works, that ranged across
orchestral, wind ensemble, concertos, chamber, instrumental, vocal and choral,
none achieved the popular success of the <i>Concierto
de Aranjuez</i>. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Rodrigo was awarded Spain's highest award for composition,
the Premio Nacional de Música and was given the hereditary title of Marqués de
los Jardines de Aranjuez by King Juan Carlos I. He received the prestigious
Prince of Asturias Award and was named Commander of the Order of Arts and Letters
by the French government. Joaquín Rodrigo and his wife Victoria are buried in
the cemetery at Aranjuez.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Naxos</b> <a href="http://www.naxos.com/">www.naxos.com</a> <b>have already issued a large number of recordings of Rodrigo’s music in
their Spanish Classics series. Now comes a new release featuring the composer’s
Chamber Music with Violin performed by violinist Eva León</b> <a href="http://www.evaleon.com/">www.evaLeón.com</a> <b>, pianist Olga Vinokur</b> <a href="http://www.olgavinokur.com/">www.olgavinokur.com</a>
<b>and
guitarist Virginia Luque</b> <a href="http://www.virginialuque.com/">www.virginialuque.com</a><o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">8.572648</td></tr>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Sonata pimpante for
violin and piano (1965) </b>was written for the composer’s son-in-law Agustin
León Ara and was premiered in
Brussels in 1966. In three movements it opens with a sparkling <i>Allegro</i>, full of spirited rhythmic
bounce before the piano leads into a slower melody with an Iberian flavour. Eva
León and Olga Vinokur weave some lovely moments before the music picks up again.
Later the atmospheric slower melody returns to lead us through some very fine
development passages before picking up again to find a lively coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">In the <i>Adagio -
Allegro vivace - Adagio</i> the piano introduces a lovely rippling theme to
which the violin adds a melody, drawing some lovely harmonies before developing
through some more intensely Iberian sounds. The music picks up vigorously in
the striding <i>Allegro vivace</i>, full of
incisive rhythmic chords before the piano brings a real gravitas and weight as
the <i>Adagio</i> returns, the violin adding
fine textures and harmonies, finding a sweet, gentle coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <i>Allegro molto</i> brings
one of Rodrigo’s typically riotous allegros, full of energy and dissonant
harmonies with these two players throwing much spirit and life into the music with
a real sense of abandon in the later stages. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The <b>Set Cançons
valencianes</b> <b>(Seven Valencian Songs)</b>
<b>for violin and piano (1982) </b>were
also dedicated to Agustin León Ara and performed by him with the pianist Jose
Tordesillas the same year. The piano gently picks out the theme of<i> </i>the lovely little <i>No. 1. Allegretto</i>, and is soon joined by the violin as this sad little
melody moves forward. The violin brings a rich melody over piano chords in <i>No. 2. Andante moderato</i>, adding some
lovely Sephardic inflections. <i>No. 3.
Allegro</i> finds Rodrigo’s more obvious rhythmic style as the violin brings
chords over a staccato piano line in this simple yet charmingly effective piece.
<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The violin adds a gentle, wistful melody to a flowing piano
line in <i>No. 4. Andante moderato e molto
cantabile</i>, developing some fine harmonies between instruments with two lovely
little passages for piano. <i>No. 5.
Andantino</i> brings an attractive rhythmic pulse as it gently flows forward,
with some lovely little decorations from both instrumentalists. The violin
alone introduces the slow melody of <i>No.
6. Andante religioso</i> with fine harmonies before the piano takes the theme.
Both weave some slow stately harmonies before a hushed coda. The piano springs
into life with the lively theme of No. 7. <i>Tempo
di bolero (Moderato)</i> and is soon joined by the violin. All the while a
sprung rhythm is maintained in this very Spanish piece. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Capriccio, ‘Ofrenda a
Sarasate’ for solo violin (1944) </b>was written at the request of Radio Madrid
to commemorate the centenary of the great violinist Pablo Sarasate (1844-1908)
and represents Rodrigo’s only piece for solo violin.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Eva León pushes quickly ahead in a fast moving theme that
travels through some virtuosic bars. Brief pauses separate the ideas as they
progress, this violinist bringing much sparkle and bravura, with fine harmonies
and textures, developing some terrific passages. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The<b> Serenata al alba
del día (Serenade to the Dawn) for violin and guitar (1982) </b>was dedicated
to the Czech guitarist and composer Jiří
Knobloch (1931-2012) but premeired in Los Angeles in 1983 by Agustin León Ara
and Pepe Romero. In two movements, the guitar brings a really lovely theme in<i> I. Andante moderato</i> with some fine
dissonant harmonies that spice up this piece, soon joined by the violin as more
of a flow is achieved. In <i>II. Allegro</i>
the guitar brings firm chords, responded to by the violin in this short,
rhythmic piece, full of Rodrigo’s fingerprints. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Dos Esbozos (Two
Sketches) for violin and piano (1923) </b>are dedicated to the violinist and
composer Abelardo Mus (1907-1983). The piano introduces a gentle idea in the
opening of <i>No. 1. La enamorada junto al
peqeuño surtidor: Andantino</i> <i>(The
Young Girl in Love beside the Little Fountain)</i> to which the violin adds a
flowing melody, moving through some quite lovely passages with the piano adding
a trickling line over which the violin melody flows. <i>No. 2. Pequeña ronda: Allegro (A little round)</i> takes off quickly in
a rhythmic theme with the violin developing a melody over an often dissonant
piano line. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Dedicated to the Spanish violinist Josefina Salvador
(1920-2006), <b>Rumaniana for violin and
piano (1943) </b>is based on Rumanian dance tunes.<b> </b>A slowly developed theme, full of Rumanian inflections, runs through
some high passages for violin, exquisitely played here. There is a quiet, slow,
atmospheric passage before the music picks up in a fast driving section before
slowing toward the sudden coda.</span><span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"> </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">These are lively, idiomatic performances that bring a
further view of this composer. They are rather closely recorded but the ear
soon adjusts. There are informative booklet notes from Rodrigo’s biographer
Graham Wade.</span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com0tag:blogger.com,1999:blog-4426380832683701817.post-6721444236464670392017-01-04T05:16:00.000-08:002017-01-04T05:36:15.931-08:00 Anthony Goldstone 1944 - 2017<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg-Lj024Dh3txAp3EwH3aTxMUzQaYteGBgSmhVLRhpVFUmvl2pgjtQ6TPpaiiTffsBlulr1hylmj7sKQaT_N3D7AHm8ZykZdzpYx914NQd3eWpPPyan6-sfzJXzIA2SHn-sP6vB50Dh6ou/s1600/agoldstone1x.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg-Lj024Dh3txAp3EwH3aTxMUzQaYteGBgSmhVLRhpVFUmvl2pgjtQ6TPpaiiTffsBlulr1hylmj7sKQaT_N3D7AHm8ZykZdzpYx914NQd3eWpPPyan6-sfzJXzIA2SHn-sP6vB50Dh6ou/s1600/agoldstone1x.jpg" /></a></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">It is with great sadness that I have to report that one of
Britain’s finest pianists, Anthony Goldstone, passed away peacefully on 2<sup>nd</sup>
January.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">This fine pianist built a formidable career both as a solo
artist and, with his wife Caroline Clemmow, as part of one of this country’s
finest piano duos. My wife, Deborah and I were privileged to count Tony and
Caroline as friends for over twenty years after meeting Caroline at our local
music festival. Our association with Albany Records led to Tony and Caroline
making a number of recordings for that company. Both later recorded for Divine
Art and Albion Records before culminating with their superb recording on Albion
of the two piano versions of Vaughan Williams’ <i>Tallis Fantasia</i> and <i>Fifth
Symphony</i>, a remarkably apt work for what turned out to be their swansong
together.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;"><a href="http://theclassicalreviewer.blogspot.co.uk/2016/12/anthony-goldstone-and-caroline-clemmow.html">http://theclassicalreviewer.blogspot.co.uk/2016/12/anthony-goldstone-and-caroline-clemmow.html</a>
<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">The New York Times described him as <i>‘a man whose nature was designed with pianos in mind’ </i>and Die
Presse of Vienna as <i>‘a musician with a
sense of the grand manner, long lines unfolding without interruption, strongly
hewn rhythms, warmth, a touch displaying the qualities of colour and cantabile,
in addition to possessing a sure technique and real strength… astonishingly
profound spiritual penetration.’<o:p></o:p></i></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">Anthony Goldstone was born in Liverpool and studied at the
Royal Manchester College of Music (later the Royal Northern College of Music) where
his piano professor was Derrick Wyndham. The RMCM was to later honour him with
a Fellowship. He went on to study in London with Maria Curcio, one of
Schnabel’s greatest pupils, making him a sixth-generation pupil of Beethoven. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">International prizes in Munich and Vienna followed as well
as a Gulbenkian Fellowship which launched a busy schedule of recitals and
concertos taking him across Europe and to North and South America, Asia, Africa
and Australasia. There were prestigious festival invitations and many
broadcasts as well as numerous London appearances including Promenade Concerts,
notably the Last Night, after which Benjamin Britten wrote to him saying, ‘Thank
you most sincerely for that brilliant performance of my Diversions. I wish I
could have been at the Royal Albert Hall to join in the cheers.’<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">Tony Goldstone has always regarded the classics and
romantics as being at the heart of his repertoire recording an acclaimed series
of CDs devoted to the major solo works of Schubert. His series of recordings for
Divine Art have ranged from Beethoven and Mozart to 20th century British
composers all with new completions and rarities, as well as transcriptions from
ballet and opera. His interest in rarities led to a series of recordings of
works by Rebikov, Lyapunov, Arensky and Glière.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">Anthony Goldstone and Caroline Clemmow formed their piano
duo in 1984 making numerous recordings, broadcasts and concert appearances,
receiving wide praise from public and critics alike. Their acclaimed seven-CD
cycle of the complete original four-hand music of Schubert, including works not
found in the collected edition, is probably a world first. Tony Goldstone’s
completions and realisations of several works by Schubert and Mozart were
greeted with enthusiasm by musicologists and listeners alike.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">Tony’s death has deprived my wife and me of a great friend
and the music world of an exceptional musician. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;"><o:p> </o:p> </span></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">Bruce Reader </span><span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif;">The Classical Reviewer</span></div>
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CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com0tag:blogger.com,1999:blog-4426380832683701817.post-31268367615884677562016-12-31T07:00:00.000-08:002016-12-31T07:00:10.387-08:00The Pécs Symphony Orchestra under Nicholas Pasquet provide spirited, idiomatic performances of Hungarian composer László Lajtha’s Symphony No.2 and Variations, Op. 44 on a re-release from Naxos<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Naxos</b> <a href="http://www.naxos.com/">www.naxos.com</a> <b>recorded the nine symphonies of the Hungarian composer <i>László Lajtha </i>on its sister label Marco
Polo in the 1990s. Now they have begun the process of re-issuing these works on
the Naxos label commencing with <i>Symphony
No.1</i> coupled with <i>Suite pour
orchestre</i> (8.573643) and now the release of <i>Symphony No.2</i> coupled with the substantial <i>Variations, Op. 44</i> with the P</b><b>écs Symphony Orchestra (recently
renamed as Pannon Philharmonic Orchestra)</b> <a href="http://www.pfz.hu/">www.pfz.hu</a> <b>conducted
by Nicholas Pasquet</b> <a href="http://www.hfm-weimar.de/en/the-department-of-conducting-and-opera-accompaniment/professors-teachers/professors.html">www.hfm-weimar.de/en/the-department-of-conducting-and-opera-accompaniment/professors-teachers/professors.html</a><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAQDSR8A5A9jQhPvW7c7x4l4KFAqvBQH_31_TeYZ2IGX0IbmA094xfiWLZYVf3yIfzbQHsYsDxGismizh5b_TzD3i8rEd6Xeifd3YiHbzZKTLY96oYRkBJzwYohYr2nMDFl5AcEMkNeGQE/s1600/51cH--EGSqL.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAQDSR8A5A9jQhPvW7c7x4l4KFAqvBQH_31_TeYZ2IGX0IbmA094xfiWLZYVf3yIfzbQHsYsDxGismizh5b_TzD3i8rEd6Xeifd3YiHbzZKTLY96oYRkBJzwYohYr2nMDFl5AcEMkNeGQE/s320/51cH--EGSqL.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">8.573644</td></tr>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>László Lajtha
(1892-1963)</b> was born in Budapest and studied with Victor von Herzfeld (1856-1919)
at the Budapest Academy. He was later associated with Bartok and Kodály in their folk song collecting and
taught at the National Conservatory. He travelled widely and was known
internationally for his folk music research. After the Second World War, Lajtha
was appointed Director of Music for Hungarian Radio, director of the Museum of
Ethnography and of the Budapest National Conservatory. His symphonic piece <i>In Memoriam</i> was the first new work to be
premiered in Budapest when concerts could be given there again. In 1947 to 1948
Lajtha spent a year in London, having been asked by the film director Georg Höllering to compose music for his
film of T. S. Eliot's verse drama Murder in the Cathedral. On his return to
Hungary he lost all of his official positions due to political reasons. In 1951
he was awarded the Kossuth Prize for his activities in folk-music research and
was the only Hungarian composer since Liszt to be elected a corresponding
member of the French Académie
de Beaux-Arts.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">His compositions include an operetta, ten string quartets, three
ballets, choral and vocal music and the nine symphonies.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Lajtha’s<b> Symphony No.
2, Op. 27 </b>was written in 1938 and reflected his experiences in the First
World War as well as anticipating the coming violence and horror of the coming
war. It was not published or performed in his lifetime. It was first performed
by the Hungarian State Symphony Orchestra conducted by Antal Jancsovics in
1988. In three movements the movement has dramatic opening orchestral chords
with a tam-tam stroke before the dramatic theme heaves itself along, weighty
and intense. Soon there is a quieter section where a piano and pizzicato
strings underline the theme, coloured by percussion, brass and woodwind. Moments of tremendous atmosphere develop where
Lajtha’s Hungarian roots are more apparent. There is a wistful passage for
strings as well as moments of shimmering strings out of which the piano and
woodwind weave some lovely phrases. Later timpani beat out dramatically as do
other percussion as the music rises. Woodwind and brass continue to colour the
music in a passage of great beauty before moving quickly ahead with the most
dramatic weaving of orchestral ideas. Eventually the woodwind weave a quieter,
hauntingly atmospheric passage before the decisive coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><i>Movement II Molto
vivace e leggiero</i> opens with a light textured orchestral idea that moves
along in a light footed manner weaving some very fine ideas. Often there is a sense
of joy, at other times a heavier, more dramatic tread. Often the music finds
forward moving dance rhythms. Woodwind appear through the orchestral texture bringing
a very Hungarian flavour with the music fairly bubbling along at times. A solo
violin brings a jolly little tune, again Hungarian in flavour before a myriad
of instruments appear through the texture. The music calms towards the end
before finding a cheerful little coda.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Two heavy chords from the orchestra open <i>Movement III </i>before the strings take the
theme forward, again with various instruments weaving through the orchestral
tapestry, a piano heard underneath. Soon the opening chords are reflected in a dramatic,
heavy orchestral outburst as the music gains in drama again, often with a sense
of foreboding. Later there is a haunting moment where a solo violin brings a
folksy tune over a steady orchestral layer, taken up by woodwind. The piano
leads a faster passage where the orchestra surges ahead, full of anxiety before
arriving at an insistent forward moving passage. Horns come in over the
orchestra as the music finds a climax, from which it suddenly falls back. The
solo violin appears over a hushed orchestra, with other strings and woodwind
soon weaving a very distinctive section before timpani thunder and the decisive
coda rams home.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This is a work that is full of incident and colour with some
lovely themes, subtly shot through with Hungarian character.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The full title of the <b>Variations,
Op. 44 </b>is <i>Eleven Variations for Orchestra
on a Simple Theme, 'Temptations' </i>and dates from 1947 to 1948. Begun in
Budapest, it is one of the works that Lajtha completed whilst staying in London
in 1948 when writing the music for Georg Höllering’s film <i>Murder in
the Cathedral</i>, from which the composer drew his material.<b><o:p></o:p></b></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Pizzicato basses are soon overlaid by a string theme,
interrupted by brass before woodwind bring a lovely theme. The music soon finds
a steady tread through which individual instruments appear, rising in passion
before finding a more tranquil passage. The music suddenly picks up a fast
rhythmic forward movement, dancing through some wonderfully orchestrated
passages, through sections of lively, buoyant music as the orchestra darts
around, bringing a seamless flow of ideas. There is an especially effective
passage for strings with a solo violin, full of passion with moments of constantly
shifting development. Later a flute brings a variation over hushed orchestra with
a gentle side drum. Brass rise to stride forward before the orchestra continues
with the confident, forward striding variation. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There is a moment of gentle luminescence where bells gently
sound, over woodwind which the strings take forward. The music soon regains a
buoyancy to bounce forward before arriving at a sudden moment of passion, a
slow outpouring from the strings which leads into a lovely cor-anglais sequence
that is shared by the woodwind. This extended variation for cor-anglais is really
very fine. It is taken by the strings as a harp is heard before rising
forcefully. Midway there is a fast scurrying string passage, before a small
ensemble of strings players weaves a particularly fine variation, full of fine
textures and much feeling. The orchestra pics up in a lively variation with
brass and drums with an atmospheric little passage flitting by before the music
strides ahead with a xylophone appearing, adding to the marching rhythm with anxious
woodwind phrases. The music surges with varying ideas before picking up to lead
to a terrific, dynamic coda. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Lajtha shows remarkable powers of invention in this constant
outpouring of orchestral ideas. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">These works have an important place in our understanding of
Hungarian music in the early 20<sup>th</sup> century. Bartok thought highly of him,
holding the opinion that, apart from Kodály
and Lajtha, Hungary ‘had no valuable composers.’ The Pécs Symphony Orchestra
under Nicholas Pasquet provides spirited, idiomatic performances. </span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The recordings are a little reverberant but otherwise clear
and detailed and there are informative booklet notes.</span><o:p></o:p></div>
CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com0tag:blogger.com,1999:blog-4426380832683701817.post-40361510880454708672016-12-21T03:54:00.000-08:002016-12-21T03:54:16.957-08:00Michael Tilson Thomas and the San Francisco Symphony provide performances that catch so much of Debussy’s atmosphere and colour in live SACD recordings of great weight, detail and presence on a new release from SFS Media<div class="MsoNormal">
<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>Michael Tilson
Thomas’</b> <a href="http://michaeltilsonthomas.com/">http://michaeltilsonthomas.com</a><b> latest live recording for the San
Francisco Symphony’s </b><a href="http://www.sfsymphony.org/">www.sfsymphony.org</a>
<b>own record label, SFS Media</b> <a href="http://www.shopsfsymphony.org/shop/SFS-Media">www.shopsfsymphony.org/shop/SFS-Media</a>
<b>brings together works by Claude Debussy (1862-1918)
recorded live at three different concerts during 2013 and 2014 at San
Francisco’s Davies Symphony Hall. <o:p></o:p></b></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBnaZJRpkPqbNhl5AxzazBw14TpuM9CB7Qk9BfMlsCGmPafxhYhWOkM9ewU0CFMqMMx-ELmOv_Yr5DKJ-09q4DnFtdFppIyE8he73cyudQ38OUhHz0xw5XeDScokjMVNayEx-vjpn4RJcL/s1600/81uxgURl-cL._SL1500_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBnaZJRpkPqbNhl5AxzazBw14TpuM9CB7Qk9BfMlsCGmPafxhYhWOkM9ewU0CFMqMMx-ELmOv_Yr5DKJ-09q4DnFtdFppIyE8he73cyudQ38OUhHz0xw5XeDScokjMVNayEx-vjpn4RJcL/s320/81uxgURl-cL._SL1500_.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SACD <br />821936-0069-2</td></tr>
</tbody></table>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">This new disc opens with Debussy’s <b>Images pour orchestre, L.122. </b>The composer had already completed
his <i>Images pour le piano I (1901-05)</i>
and <i>Images pour le piano II (1907)</i> before
his long awaited orchestral <i>Images</i>
which he worked on between 1905 and 1912. <i>Iberia</i>
was conducted by Gabriel Pierné
in February 1910 and <i>Rondes de printemps</i>
by Debussy the following month. The premiere of the complete work was conducted
by Debussy in January 1913.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">Michael Tilson Thomas creates a palpable sense of mystery
and atmosphere right from the opening bars<i>
</i>of<i> <b>No. 1 Gigues</b></i> shaping some fine passages, subtly achieving a
rhythmic pulse. He keeps a wonderfully fluid tempo, achieving a really French
quality in Debussy’s lovely harmonies. This is a wonderfully atmospheric performance.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There is some very characterful playing from the San
Francisco Symphony in <i>Par les rues et par
les chemins </i>of <b><i>No. 2 Ibéria</i></b><i> </i>particularly
in the brass. They find a terrific rhythm around which Debussy’s harmonies flow.
The orchestra’s strings really are quite wonderful, beautifully caught here.
They move through some beautifully scented passages, revealing so much of
Debussy’s orchestration. Again Tilson
Thomas catches the atmosphere perfectly in <i>Les
parfums de la nuit</i>, shaping the music wonderfully, weaving so many colours
and textures whilst finding Debussy’s constantly shifting harmonies. They bring
a beautifully flexible tempo right through to the atmospheric end. The San
Francisco Symphony runs straight into a beautifully judged conclusion of <i>Le matin d'un jour de fête</i> where this
conductor shapes the slowly emerging theme exquisitely. The San Francisco
Symphony’s leader and principal clarinet provide some especially fine moments
as do the whole woodwind section. This orchestra is quite brilliant in this
ever changing scene.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">There is a beautifully shimmering opening to <i>No. 3 Rondes de printemps </i>before weaving
a brilliant tapestry of orchestral sounds. The San Francisco Symphony provides some
terrific moments with a real sense of spontaneity from so many individual
members of the orchestra, later achieving a terrific forward sweep. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">It was for Diaghilev and the Ballets Russes that Debussy
wrote what was to be his last orchestral work, <b>Jeux, (po</b><b>èm dans</b><b>é) L.126</b>. The
premiere at the Théâtre des
Champs-Elysées, Paris on 15<sup>th</sup>
May 1913, with Pierre Monteux conducting, was a box office failure. The
composer spent the performance in the concierge’s office smoking a cigarette,
angry and unable to understand Nijinsky’s choreography. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"> <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">The San Francisco Symphony bring a beautifully textured
opening, soon developing some playful moments before moving through some
delightfully animated passages, with Tilson Thomas always keeping an ear for
colour, texture and sonorities. There are some wonderfully quicksilver passages
showing this orchestra’s tremendous flexibility and ensemble, with this
conductor finding much atmosphere, shaping this music so well. There is a
moment where the San Francisco Symphony strings show their particularly fine,
brilliant texture and later there is some very fine weaving of woodwind around
the solo violin. Tilson Thomas and the orchestra capture the fleeting moments
in this piece quite brilliantly as well as bringing passages of tremendous vibrancy
and brilliance. <o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;"><b>La Plus que lente,
L.121 </b>is another late work that started life as a piano work written in
1910. Debussy’s travels took him to Budapest where he discovered gypsy style
café ensembles, a sound that influenced this work. It was on the insistence of
his publisher that the composer finally orchestrated the work. Strings open,
soon joined by the distinctive sound of the cimbalom <a href="http://www.britannica.com/art/cimbalom">www.britannica.com/art/cimbalom</a>
. A waltz appears where, at times, Tilson Thomas and the San Francisco Symphony
bring a sultry inflection. They finely shape this music with some beautifully controlled
tempi and dynamics, finding many subtleties. Later the cimbalom is heard
through some lovely orchestral textures before a particularly fine, beautifully
hushed coda.<o:p></o:p></span></div>
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<span style="color: #990000; font-family: Arial, Helvetica, sans-serif;">These are performances that catch so much of Debussy’s
atmosphere and colour. The live SACD recordings have great weight, detail and
presence and there are notes from Michael Tilson Thomas and Michael Steinberg.
Something of a winner.</span> </div>
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<span style="color: #339933; font-family: "Old English Text MT"; font-size: 18.0pt;">As I publish my last review before Christmas, I would like to
take the opportunity to send Seasons’ Greetings to all of my followers and to
all the Record Companies, Publishers and Music PR Companies that have supported
The Classical Reviewer during 2016.<o:p></o:p></span></div>
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CLASSICAL REVIEWERhttp://www.blogger.com/profile/01914941689978218761noreply@blogger.com0