Thanks, Wimpel, i love Arnold's music

I hope this download meets your needs. These were originally analogue recordings (The Incredible Flutist 1976 & Cakewalk in 1982) made by the Louisville Orchestra for their First Edition LP series. The Albany CD was a straight transfer of the LP master tape but at a ridiculously low level which unfortunately was quite common for classical recordings on CD at the time. I suspect the Santa Fe CD is identical to the Albany since it does not claim to be a remaster. I was fortunate to obtain a Dolby B reel to reel of the Piston in the late 1970s and have used this excellent source for my DSD remaster in 2005. The ballet is configured as it was on the LP presentation as two suites comprising the entire ballet, as Piston intended instead of the fragmented presentation on both CDs.
The Cakewalk was also transferred from a 1980s reel to reel non Dolby source which I found to have more analogue warmth than the Albany CD and I remastered it also for better sound. I hope you enjoy this slightly improved version of two of the most delightful and dynamic works ever composed and/or arranged for the Ballet.

Cakewalk & The Incredible Flutist (Complete Ballets remastered) Louisville Orchestra conducted by Akira Endo & Jorge Mester
FLAC: https://mega.nz/#!u1UXkTaQ!XBZXoPoQlkPucGP2ofGYGUpPkmnFoXMtvlAIGpgzUfk

Hi Wimpel, I tracked this down for you. Its the least I can do.

Piston - Incredible Flutist, complete.

https://mega.nz/#!gYE1QKiI!rfNcMRjd1VN8I-iAbNc8uCh9hrHs20tRA3vBysj7wAU

---------- Post added at 06:47 PM ---------- Previous post was at 06:46 PM ----------

You beat me to it!

Thanks very much, steviefromalaska & thehappyforest. :)


No.911
Modern: Tonal

Australian composer, music educator, and pianist Margaret Brandman presents her debut
Navona release SENSATIONS, featuring several of her celebrated compositions, each
one presenting a unique musical experience and sensation. The Moravian Philharmonic Orchestra
skilfully performs the orchestral portion, opening with the joyful Love Brings Change (Adagio
for Strings). Pianist Lucie Kauck� joins the orchestra for Lyric Fantasy, an emotional
and accessible two-movement work with contrasting moods for piano and strings. In the two-movement
Undulations, also for strings, Brandman portrays the elegant flowing movement of the ocean
waves on Australia’s eastern seaboard. In the central orchestral piece, the programmatic three-movement
Firestorm Symphony for full orchestra, Brandman effectively captures the shimmering heat,
dangerous wind and approaching fire along with the sounds of the native birds, during the terrifying
experience of Australian Blue Mountains’ bush fires which threatened her family home, the sorrowful
aftermath and eventual renewal of the bush.

The chamber music portion, featuring violinist Vit Muž�k and pianist Lucie Kauck�, opens
with Binna Burra Dreaming, which centres on the aboriginal Binna Burra world heritage site in
Australia’s Gondwana rainforest. The Eastern Spinebill and the Sulphur-Crested Cockatoos Herald a
Blue Mountains' Bush Fire, a vibrant reduction of the first movement of Firestorm Symphony,
explores more closely the wildlife affected by the Blue Mountains’ bush fires. Muž�k and Kauck� round
out their contributions with the Latin-American-styled Jucaro Rhumba D’Amor. Also featured on
the chamber music portion are piano pieces performed by Brandman herself. Following the
impressionistic and lyrical piano solo Autumn Rhapsody, Brandman is joined by pianist
Marcello Maio for Spirit Visions, a two-piano work inspired by the tone colours of
the Sydney Town Hall organ. This piece, like the many others on this release, embodies the bright
and jazzy style that makes Brandman’s music so distinctive.



Music Composed by Margaret Brandman
Played by the Moravian Philharmonic Orchestra
With Lucie Kauck�, Margaret Brandman & Marcello Maio (piano)
Conducted by Petr Vronsk�

"Brandman is a represented composer at the Australian Music Centre and has composed numerous orchestral,
chamber, and solo works, many of which are published by the German publishing house ‘Furore Music.’ Her
music has received airplay and been performed across the world, including in her native Australia, the United
States, Switzerland, Germany, Italy, the United Kingdom, the Czech Republic, and Cuba. Brandman is also a
professional arranger and has been a member of the Music Arrangers Guild of Australia for over 40 years.

Brandman has received numerous honours and awards. The International Biographical Society has awarded
her “International Woman of the Year for Services to Music,” as well as an Honorary Doctorate of Letters. She
has also received the World Forum’s “Distinguished Intellectual Contribution Award” and the World Piano
Teachers Association’s “Diploma of Excellence in Piano Pedagogy” for her presentation The Geometry of
the Piano and the Symmetry of the Hands.

Brandman is active as a music educator. She has taught piano for over 45 years, and has devised a unique
teaching system and a complete series of music education materials, many of which contain her original
compositions. Brandman also conducts professional development courses for music teachers in Australia
and worldwide.

Brandman is a published author of a variety of educational texts that reflect her holistic approach to teaching.
These include a high school music text book Accent on Music, her comprehensive Contemporary Aural
Course and Contemporary Piano Method, and several theory and harmony workbooks available worldwide.

Brandman attended the Sydney Conservatorium of Music for her instrumental studies and the SCM specialist
music High School. Upon graduating she achieved third in the state of New South Wales for her skills in
performance and composition. Following this, she went on to receive a bachelor’s degree in composition
at the University of Sydney, studying under acclaimed composer Peter Sculthorpe. Since then she has
received numerous further degrees from various institutions."[/i]



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No.912
Modern: Eclectic

Born in 1955, Xiaogang Ye is regarded as one of China’s leading contemporary composers.
For three decades his works have drawn attention both in the West and in the Far East, through
performances by ensembles including the Detroit Symphony Orchestra and the Bamberger Symphoniker.
On the present disc Ye's music is championed by the Royal Philharmonic Orchestra, under
the eminent conductor Jos� Serebrier and joined by the celebrated violinist Cho-Liang Lin
and soprano Hila Plitmann. Much of Xiaogang Ye's music bears a connection to Chinese culture
and tradition and includes references to ancient legends and texts. In 2002 he was commissioned
to write a symphony in celebration of the Wuhan Orchestra's tenth anniversary. The city of Wuhan
is situated in what was once the ancient State of Chu (c. 1030–224 BC), which has lent its name to
the work. 'Chu' consists of seven movements, during which Chinese instruments such as the
pipa (Chinese lute), sheng (mouth organ) and the erhu (‘Chinese violin’) appear alongside the
traditional symphony orchestra. Two movements also include a wordless soprano part. With these
means, Ye conjures up visions of the ancient Chu culture – its bronze drums, silk industry,
poetry and ritual dances – but also the spectacular scenery of the region, home of the celebrated
Xiling Gorge on the Yangtze River.

A more personal inspiration informs The Last Paradise, a work which may initially seem a
response to the Western violin concerto, but is in fact more akin to a late-Romantic tone poem.
Here Ye has drawn from his experiences during the Cultural Revolution, when he was deported to
a small village. Conditions were so harsh that the villagers used to celebrate deaths instead
of mourning them, considering death the escape from a painful life and the start of a journey
towards a final paradise.



Music Composed by Ye Xiaogang
Played by the Royal Philharmonic Orchestra
With Lin Cho-Liang (violin) & Hila Plitmann (soprano)
Conducted by Jos� Serebrier

"Ye’s oeuvre comprises symphonic works, a range of chamber music, stage works and film music,
and much of his music bears a connection to Chinese culture and tradition. In The Song of the Earth
for soprano and orchestra, premiered in January 2005, Ye uses the original Chinese texts on which
Mahler based his symphonic work of the same name. The work has received performances in New York
(Avery Fisher Hall), Munich (Philharmonie), Berlin (Konzerthaus), Venice, Rome and Lucerne. In the
Macau Bridge Suite No. 2 (2001) and Four Poems of Lingnan (2011), which were recorded by the Macau
Orchestra in 2014, Ye also refers to old Chinese legends and texts. The composer’s deep attachment
to the nature and Buddhist religion is shown especially in composition series such as the “Tibet Series”:
In Twilight of the Himalayas (2013) he gives his impressions of traveling through Tibet and Nepal.
Within the “Tropic Plants Series”, each work is named after a tropical plant and characterizes the
homeland of the southern Chinese composer.

In August 2008, Ye's piano concerto Starry Sky was premiered during the opening ceremony of the
Olympic Games in Beijing by Lang Lang. Accompanied by dance and light shows the live broadcast
was watched by 3 billion people worldwide.

Ye was the first Chinese composer to sign with Schott Music. For three decades his works have drawn
attention both in Eastern Asia and in the West, being played by international orchestras and ensembles
including the Munich Philharmonic, New York Philharmonic and Ensemble Modern."





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No.913
Modern: Neo-Romantic

The Summit is a new symphony by Jeffrey Roland Leiser, the award-winning film
composer from �Imagination� and �Glitch in the Grid�. It represents his first symphony
written for the concert hall. Composed in four movements, The Summit tells the
story of a traveler ascending an impossibly high mountain, the summit of which can only
be reached through an act of compliance.

This is melodically appealing, undemanding orchestral music. Much like many a film score, actually. ;)



Music Composed by Jeffrey Leiser
Orchestrations by Andres Soto & Mitchell McCarthy
Played by a Studio Orchestra
Conducted by Harrison Hollingsworth

"The Symphony is inspired by one of Leiser�s great passions, the mystery of upper mathematics
and, in particular, the work of Georg Cantor, the 19th c. German mathematician who discovered
an �infinity of infinities.� The composer�s childhood fear of infinity and heaven is the cornerstone
of the ascent in The Summit.

A repeated solo harp note opens Movement I soon joined by a flute and other instruments and
reaching a rich flowing melody, full of breadth. The music soon changes to a more detailed,
rhythmic section for woodwind before the broad flowing theme returns. The music develops
through a variety of passages of drama and power as well as quite thoughtful moments, most
effectively orchestrated. It is the orchestral subtleties and varieties that add so much to the
interest, helping to build the music. Soon there is a passage for piano before a very effective
rhythmic staccato passage. Leiser certainly has a gift for melody. There is another passage for
piano and orchestra before the opening returns quietly for flute, harp and percussion.
Shimmering strings underlay staccato brass before rising again to push ahead. A solo violin
is heard before a hushed orchestra and chimes lead to the coda on a timpani roll.

Movement II opens quietly with a gentle, rather sad melody. A solo flute quietly takes the
theme before the orchestra returns, led by oboe and clarinet to weave with other woodwind
a particularly fine passage. The orchestra rises with a fine flow pointed up by the piano before
a further lovely woodwind passage brings a lovely bubbling gentle sound. The harp joins to
add a lovely gossamer texture. There are many fine instrumental contributions as the music
progresses, not least from the brass. Part way, there is a rhythmically pointed section for
brass and percussion before swirling forward rhythmically, creating an impressive flow and
drive. There are passages of fine rhythmic pulse before the music eventually slows to a
more gentle forward flow with a hushed cymbal stroke and woodwind fluttering bringing
a lovely coda.

Movement III opens on a sudden held string phrase, over which woodwind bring a theme.
Double basses play staccato chords as the theme weaves ahead. This is a lovely idea,
bringing a drama to underline the flowing melody. Percussion point up the music with
brass joining as the music slowly increases in power. The piano joins in a rising and falling
line leading to a jaunty theme that soon adopts a happier flowing melody. Timpani bring
a note of caution as the music falls quieter through some lovely moments. The drama
increases with tubular bell chimes heard before an oboe takes the melody in a lovely
passage. The rhythmic theme returns, brass join and the piano can be heard rippling
as the music strides forward confidently but suddenly fades to a hushed coda.

A recorder brings a lovely little melody over a harp with pizzicato strings to open
Movement IV. A solo violin, with the orchestra, leads forward, the strings bringing
a lovely rising and falling flow. There are some fine individual string passages, almost
chamber like before a most effective rhythmic passage for percussion over pizzicato
strings. Brass add bold phrases as the music develops with many individual instrumental
contributions. Eventually there is a quiet, slow, gentle passage for tinkling bell and
strings. Woodwind weave through the texture as do brass before a theme for piano
and hushed strings that has something of a �scotch snap.� The music rises to push
to the coda and brings a real sense of conclusion.

This is undemanding music but full of fine ideas, effectively orchestrated.
With a very fine recording, excellent performance and informative booklet
notes this is a release that will appeal to many. "
The Classical Reviewer [using the term "lovely" an awful lot]



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No.914
Modern: Tonal

The English composer Robin Walker (born in York in 1953) writes music which acknowledges
nature as the paramount creative force. Working in a tradition which passes through Beethoven,
Brahms, Elgar, Sibelius, Tippett and Birtwistle, he challenges the intellectual emphasis of
modernism by channeling emotional energy into form, marrying subjective feeling and discipline
in what he calls ‘passionate classicism’. This union of instinct and structure has created
some of the most vigorous and exciting orchestral music of recent years, as the four powerful
pieces on this CD demonstrates.



Music Composed by Robin Walker
Played by the Novaya Rossiya State Symphony Orchestra
Alexander Walker (conductor)

"Robin Walker was born in York in 1953 and studied at Durham University with David Lumsdaine.
Following Durham, he did three years of postgraduate research at Keble College, Oxford interspersed
with a short period at the Coll�ge Franco-Brittanique in the University of Paris; he continued his
studies at the Royal College of Music, before taking up a full-time appointment at the University of
Manchester in 1980. Here he founded and co-ordinated the New Music/Old Music concert series,
directed the Electronic Music Studio and conducted numerous student and professional performances.

In 1981 his Dance/Still for chamber ensemble brought his first Radio 3 broadcast; this piece showed
an affinity with late Stravinsky in its balance of opposed states of motion. At the same time, however,
Walker was casting the stylistic net wide, producing, amongst other things, a haunting re-composition
of the Kink's Waterloo Sunset and the violent ritualised-minimalist meditation of Seven Last Words
for electric guitar and percussion. In the summer of 1983 he travelled to Bangalore to learn the art
of drumming in traditional South Indian dance. Among creative spin-offs of this visit were the solo
viola piece Age/a gita, performed by Yuko Inoue at the Purcell Room.

Since resigning his lectureship in 1987, Robin Walker has lived, on the edge of the Saddleworth
moors, patiently exploring new directions in a small number of carefully crafted works. Of these
The Stone Maker, a 30-minute symphonic poem performed and broadcast in 1996 by the
BBC Philharmonic under Elgar Howarth, is undoubtedly the most ambitious, engaging with the
kind of large-scale symphonic momentum characteristic of Sibelius, Tippett and Robert Simpson,
yet without denying Walker's previous interests in the sound-worlds of Boulez and Birtwistle.
More traditional in their harmonies and textures are the string orchestra piece Hold Hands Across
the Years, premi�red in March 1998 by the English Chamber Orchestra, and the chamber opera
The Bells of Blue Island.

Robin Walker has also been drawn to projects outside the classical mainstream, including pieces
for the Grimethorpe Colliery Band, various ballet and theatre productions, and a school opera
based on the Odysseus legend. His music has been heard at various Festivals in this country
and abroad. Future plans include a three-act opera along the Wagnerian lines: The Return
of Odysseus."



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No.915
Modern: Impressionism/Neo-Classicism

Reynaldo Hahn�s name is missing from several of my music reference books. A Venezuelan by birth, Parisian bred,
later a naturalised Frenchman, Hahn was active during the Belle �poque centred on Paris. Brian Zeger has written
that �Hahn�s music is as quintessentially French as one can find.� Yet for many decades outside France it has been
solely the m�lodies (songs) that have given Hahn�s music a finger-hold in the repertoire. The fiftieth anniversary
of Hahn�s death in 1997 produced several welcome recordings but still principally albums of m�lodies.

Cast in seven movements Le Bal de B�atrice d�Este is a work of ineffable charm that successfully evokes an
impression of the Milanese court at the time of the Italian Renaissance especially the elegant music of the opening
Entr�e pour Ludovic le More and its reprise in the Finale. The second movement Lesquercade is a form of Pavane
with some marvellously written wind playing especially for the flute.

Thought to have been written in 1944 the Concerto proven�al is scored for flute, clarinet, bassoon, horn
and strings. It was first played at a Radiodiffusion Fran�aise broadcast in 1945 and publicly introduced in Paris
the following year. Written in the style of a concerto grosso each of the three movements portrays a tree
native to Provence: Sous les platanes (Under the plane trees), Sous les pins (Under the pine trees) and
Sous les oliviers (Under the olive trees).

Remarkably the unpublished S�r�nade for woodwind quartet from 1942 was unearthed in the personal
collection of musicologist Philippe Blay. Scored for flute, oboe, clarinet and bassoon the relatively short
three-movement score has a neo-classical form melded with Hahn�s distinctive style. Performed by a
quartet of wind soloists from the Ensemble Initium I was struck by the opening movement marked Vif
et gai in the manner of a Minuet with its stylish and convivial feel.

Another real find is the Divertissement pour une f�te de nuit which is unconventionally scored
for flute, saxophone, bassoon, horn, percussion, string quartet and piano, It could be described as a
sister work to Le Bal de B�atrice d�Este. Thought to have been written in 1931, shortly after Ibert�s
popular Divertissement and roughly contemporaneous with Piern�s Divertissement, Hahn�s composition
evidently depicts nocturnal festivities in old Vienna. In four movements with the second subdivided into
three sections this was premi�red at a Paris concert of the Soci�t� Philharmonique in 1931.
This is mainly exuberant music full of vivid colour and varied rhythms.



Music Composed by Reynaldo Hahn
Played by the Orchestre des Pays de Savoie
With Julien Vern (flute) & Fran�ois Lemoine (clarinet)
And Frank Sibold (basson) & Julien Desplanque (French horn)
And the Ensemble Initium
Conducted by Nicolas Chalvin

"Nicolas Chalvin directs with unerring consistency of approach and judiciously chosen dynamics
and pacing. The attention to detail in this charming music is palpable with the players conveying
warmth, sensitivity and flawless intonation. The engineering team for Timpani excel in providing
warm, clear and naturally balanced sound. Timpani state that both the S�r�nade and Divertissement
are premi�re recordings. The booklet essay is interesting and informative and adds to the desirability
of the release. Lovers of French music will relish this release presenting mainly unfamiliar repertoire
that deserves to be better known."
Musicweb





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That's be it for this week. :)

Dear wimpel69,
Thanks a lot for all these incredible uploads ! Such great shares !

No.916
Modern: Eclectic/Wind Band

The University of Central Oklahoma Wind Symphony, directed by Brian Lamb, is
the premier performing group in the Winds and Percussion Division of the UCO School
of Music. This recording features the music of Grammy award-winning composer Michael
Daugherty, one of the most commissioned, performed, and recorded composers on the
American concert music scene today.



Music Composed by Michael Daugherty
Played by the University of Central Oklahoma Wind Symphony
Conducted by Brian Lamb

"Just a quick look at the always clever titles to his works, including those in this collection, gives you a
good idea about the unique nature of his music. Daugherty�s music is upbeat, tuneful, frequently jazz-
influenced and actually quite demanding to play but, I think, always great fun to listen to. This collection
makes for a wonderful introduction to his wind music and contains some great works that are not as well
known as some of his output.

Firecracker, which opens this set, is, basically, a virtuoso concerto for oboe and chamber ensemble. Based
on the notoriously difficult etudes by early 20th century master oboist Antonio Pasculli, this work requires
some separation in the staging of the players to achieve a �stereo� effect and is quite a show for soloist
Kadee Bramlett, who plays wonderfully! Other works in this set that feature commanding solo performances
include Walk the Walk for baritone sax and ensemble and a couple of fascinating trio works. Walk the
Walk is a perfect example of Daugherty�s creative sense of humor. Based on a riff from The Temptations�
�My Girl,� this showpiece includes sound moments from the worlds of rock, jazz and Motown. Soloist
Jared Cathey has great tone and carries this off with the necessary verve.

The two works that feature a trio are Regrets Only, from 2006, and Diamond in the Rough of the same year.
Regrets Only, scored for violin, cello and piano is reminiscent of late 19th-century salon music and the
title comes from a quote by Thoreau. This is a more reserved and nostalgic side of the composer�s output;
quite beautiful. Diamond in the Rough is a brief three movement work for violin, viola and percussion and
chamber ensemble that was written for the 250th anniversary of Mozart�s birth in 1756. This incredibly
creative work is based on three examples of Mozart�s monumental output. �Magic� uses glockenspiel to
emulate Papageno�s aria in The Magic Flute; �Fifty-Five Minutes Past Midnight� utilizes the eerie sound
of crystal glasses to conjure up the mystery surrounding the exact time of Mozart�s death and �Wig
Dance� is a wildly irreverent musing on the populist image of Mozart as an immature partyier (as in
the film Amadeus). This, too, is a brilliant piece, a little different from the others herein.

There are also three wonderful examples of whole ensemble writing. Rosa Parks Boulevard pays
tribute to the American civil rights icon but is also a very personal work for Daugherty who had the
privilege of meeting her at a church service and talk in Detroit. Parks told the composer that her
favorite piece of music was the traditional spiritual �Oh Freedom� which plays a prominent role in
this work. The three trombone soloists who carry much of the melody do a tremendous job and this
work is quite inspirational. Blue Like an Orange is a wide ranging and cheeky look at the nearly
countless ways that music treats the idiomatic g-minor blues and is quite entertaining.

Bizarro, the one work here I had heard before, is a kind of spin-off from Daugherty�s well-known
work, the Metropolis Symphony. �Bizarro�, in the �Superman� comics is a kind of �anti-Superman�
character created by a diabolical ray gun invented by Superman�s arch-enemy, Lex Luthor. As one
might expect, this is a high energy and frenetic work that gets faster, louder, more and more wild
until it crashes (the percussion section gets quite the workout!)

This is a wholly entertaining album for true Michael Daugherty fans like me, but also makes for
a great way for the uninitiated to get to know this brilliantly eclectic composer. The University of
Central Oklahoma Wind Symphony and all the great soloists are also a revelation. I had never
heard anything from this group and from a state not yet immediately thought of for great music
and music education. Highest compliments to conductor Brian Lamb for putting his school on
the musical map where it clearly belongs!"
The Audophile Audition





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No.917
Modern: Impressionistic/Neo-Classical

A student of Massenet and Faur�, winner of the Prix de Rome in 1900 and friend to
Ravel and Satie, Florent Schmitt had a style that blended influences and
inspiration from wherever the spirit took him. His incidental music for Antony
and Cleopatra originally formed ballet scenes between the acts, evoking and
enhancing Shakespeare�s saga of rivalry between the Roman Empire and Egypt, and
the tragic consequences of star-crossed love. Schmitt�s The Haunted Palace follows
the nuances of Mallarm�s translation from Edgar Allan Poe in lush orchestration
and a sound-scape of enigmatic symbolist imagery.



Music Composed by Florent Schmitt
Played by the Buffalo Philharmonic Orchestra
Conducted by JoAnn Falletta

"Florent Schmitt (1870-1958) studied with both Massenet and Faure, but his music, still needing to be
frequented in the concert hall, tends to feel like the musical voice for the Symbolist movement and Art
Noveau. Perhaps his finest work is the ballet score, The Tragedy of Salome, Op. 50. Now we have this
new disc of lush music featuring works inspired by literature.

Shakespeare�s play Antony and Cleopatra received a performance at the Paris Opera in 1920. It was for
this production that Schmitt was commissioned to provide music for the production which featured updated
texts provided by Andre Gide. The music was to serve as ballet scenes between acts and the great Ida
Rubinstein (who would inspire Ravel�s Bolero) would take on the role of Cleopatra. Afterwards, he extracted
two suites of three movements each for concert use. The first of these begins with the very impressionistic
love music for �Antony and Cleopatra�. The latter is depicted with an oboe outlining a faux-eastern modal
line. The music here is somewhat an extension of Delilah�s music from the more familiar Saint-Saens
opera and �Bachanale� surrounded by Ravel-like crescendos and even a bit of Richard Strauss (a la Salome).
Next we are �At Pompey�s Camp�, heralded by brass and setting the stage for the final �Battle of Actium.�
The second suite begins with the evocative nocturnal sensuality of �Night in the Palace of the Queen�.
This reaches its peak in �Orgy and Dances� which will have some listeners thinking of Stravinsky�s Le Sacre
blended with Ravel�s La Valse; sometimes there is even a little jazzier inflection that one might find in his
American contemporary John Alden Carpenter. Bird calls and chant are rather fascinatingly suggested in
the final �The Tomb of Cleopatra.� The music does suffer a bit by not having the sort of climactic final
bars needed to insure immediate audience approval, but the style feels more like it could belong in a
film and that helps open the door to great appreciation.

Those unfamiliar with French literary developments at the end of the 19th Century may find it hard to
believe how influential the work of Edgar Allan Poe was for what would become the Symbolist movement,
especially for the likes of Baudelaire and Mallarme. Schmitt�s The Haunted Palace is a symphonic study
which follows Mallarme�s translation. The writer�s own meanings into the language are then translated
into Schmitt�s musical depiction. Again, it is like a film suite in the way musical ideas are meant to
support, or depict Poe�s story here in music. The work is often quite stunning.

For those who appreciate early 20th-Century French music and have yet to discover Florent Schmitt�s
music, you are in for a gorgeous treat here that may find you looking for more of this composer�s expressive
musical output. The Buffalo orchestra acquits themselves well with this music. The recording is a bit
immediate and forward which may lessen some of the sensual feel this music acquires in more diffuse halls.
However, that ends up allowing more detail to shine through all the more here. Falletta continues to add
to her vast and often fascinating discography showcasing the great orchestras fortunate to have her on
the podium. Even if there were competition in this repertoire, and there is essentially none, this would
still be a recording upon which we may compare future ones. There is a reason why these performances
recorded last March, 2015, have managed to find their way to release so soon."
Cinemusical





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No.918
Modern: Tonal

The very nature of this disc is appealingly old-fashioned: a collection of works that reveal the
composers' innermost feelings about distinctly American places. For example, Lee McQuillan's Sweet
Home Suite is inspired by his hometown, Middletown, Connecticut and its people and geography. A
more wistful approach is taken by Christopher Montgomery in the second half of Two Cities:
the idea that unless New Orleans is relocated to higher ground, then the city might be completely
submerged in the future -- akin to the ancient legend of Atlantis. And the veteran Chicago composer,
Helmuth Fuchs, pays homage to the Second City in his Chicago Fantasie Overture.



Music by Lee McQuillan & Armand Qualliotine
And by Christopher Montgomery & Helmuth Fuchs
Played by the Dvor�k Symphony Orchestra
With Lucy Yates (soprano)
Conducted by Julius P. Williams

"Each work on this disc of music by living Americans is tied to a very specific place: certain cities, in
most cases, but also places as intimate as a poet’s desk. Lee McQuillan’s Sweet Home Suite is a quarter-
hour tour of his Connecticut hometown. The first movement, “The Coffee House,” is chattering, quick,
and colorfully orchestrated, including accent percussion. “Strange Bedfellows” deals with town politics,
not sex; it’s uneasy, with wisps of material quietly contending with each other, rather like the less
burlesque passages of the scherzo of Mahler’s Sixth Symphony. “The Last Farm” is a pastoral elegy,
and “Along the River” sounds a little like Virgil Thomson, but is less blocky in its orchestration.

Armand Qualliotine’s No si�n le triste pene sets a sonnet by Cavalcanti (1250–1300) in which the
poet’s melancholy quills and scissors address him. The tonally uncertain vocal setting is introduced
and followed by movements for strings alone, and the work concludes with a brief vocalise.
Soprano Lucy Yates conveys the text well, although some listeners may be put off by her vibrato,
which intensifies and widens almost to the point of wobble at high pitch or dynamics. The strings-
only scoring and static emotional content of the poem render this 14-minute work rather monochromatic,
but Qualliotine’s His Cove Is Now the Firmament employs the full orchestra, and the added color
helps a great deal. This latter work honors Qualliotine’s late composition teacher, John Lessard,
and the place where he lived on Long Island. It’s a free-form work whose mood seems distantly
related to that of Piston’s New England Sketches, although the thematic materials are more
fragmentary. It’s not melancholy so much as reverent, and ends in slow, quiet sparkle.

Christopher Montgomery’s Two Cities depicts American metropolises of the past and future.
The first movement, “Rebirth: New York 1948,” refers to Montgomery’s personal rebirth when
he arrived in New York as a teenager from the Midwest. It doesn’t rely on the bustle you’d expect;
most of the piece suggests that Montgomery had his rebirth at dawn in Central Park, or maybe
even at St. John the Divine. Speaking of the latter, “An American Atlantis: New Orleans 2200”
imagines that city in its eventual watery grave; the piece is a shallower Engulfed Cathedral,
where the city seems to lie just beneath the surface, in still, cloudy water. Helmuth Fuchs’s
Chicago Fantasie Overture is an episodic piece, initially a little dreamlike and restless;
eventually it picks up and takes on a quasi-comic character, in some ways a stripped-down
version of something you’d hear in Mahler’s Third.

Julius P. Williams leads the Dvor�k Symphony Orchestra—also known as the Prague Radio
Orchestra—in secure, committed performances. The playing may lack the panache of one
of the world’s major ensembles, but those orchestras don’t play this sort of music, and at
any rate the Prague group is vastly superior to the scrappy Polish, Icelandic, and Japanese
bands that recorded this sort of non-academic American music back in the 1950s and 60s.
If you used to collect those CRI and Desto LPs, despite everything, and you’d like to hear
what the contemporary counterparts of those midcentury composers are up to today,
this disc should please."



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No.919
Modern: Americana/Wind Band


I am sharing this album not for the overtly "patriotic" pieces (like the Battle Hymn of the Republic),
but because of the more reflective, thoughtful works that deal with suffering.

Edward Sotomayor Jr., 34 years old
Stanley Almodovar III, 23 years old
Luis Omar Ocasio-Capo, 20 years old
Juan Ramon Guerrero, 22 years old
Eric Ivan Ortiz-Rivera, 36 years old
Peter O. Gonzalez-Cruz, 22 years old
Luis S. Vielma, 22 years old
Kimberly Morris, 37 years old
Eddie Jamoldroy Justice, 30 years old
Darryl Roman Burt II, 29 years old
Deonka Deidra Drayton, 32 years old
Alejandro Barrios Martinez, 21 years old
Anthony Luis Laureanodisla, 25 years old
Jean Carlos Mendez Perez, 35 years old
Franky Jimmy Dejesus Velazquez, 50 years old
Amanda Alvear, 25 years old
Martin Benitez Torres, 33 years old
Luis Daniel Wilson-Leon, 37 years old
Mercedez Marisol Flores, 26 years old
Xavier Emmanuel Serrano Rosado, 35 years old
Gilberto Ramon Silva Menendez, 25 years old
Simon Adrian Carrillo Fernandez, 31 years old
Oscar A Aracena-Montero, 26 years old
Enrique L. Rios, Jr., 25 years old
Miguel Angel Honorato, 30 years old
Javier Jorge-Reyes, 40 years old
Joel Rayon Paniagua, 32 years old
Jason Benjamin Josaphat, 19 years old
Cory James Connell, 21 years old
Juan P. Rivera Velazquez, 37 years old
Luis Daniel Conde, 39 years old
Shane Evan Tomlinson, 33 years old
Juan Chevez-Martinez, 25 years old
Jerald Arthur Wright, 31 years old
Leroy Valentin Fernandez, 25 years old
Tevin Eugene Crosby, 25 years old
Jonathan Antonio Camuy Vega, 24 years old
Jean C. Nives Rodriguez, 27 years old
Rodolfo Ayala-Ayala, 33 years old
Brenda Lee Marquez McCool, 49 years old
Yilmary Rodriguez Sulivan, 24 years old
Christopher Andrew Leinonen, 32 years old
Angel L. Candelario-Padro, 28 years old
Frank Hernandez, 27 years old
Paul Terrell Henry, 41 years old
Antonio Davon Brown, 29 years old
Christopher Joseph Sanfeliz 24 years old

The musical selections on Gardens of Stone, were chosen for the way their
spirit mirrors that of the American people, be it patriotism, courage, or an unabashed
optimism. The sound is spirited and patriotic, telling the unique story of a nation
and dedicated to "our fellow Americans, in honor of their strength of character and
purpose." On this album, The United States Coast Guard Band channels this
American spirit with classics like The Battle Hymn of the Republic and
Semper Paratus, as well as some large-scale compositions such as A Hymn
for the Lost and the Living and the title track Gardens of Stone.



Music by John Williams, James Beckel Jr, Erik Ewazen & others
Played by the The United States Coast Guard Band
With Admiral Thad W. Allen (narrator)
Conducted by Kenneth W. Megan & Richard E. Wyman

"Gardens of Stone was commissioned by the United States Air Force Band of
Flight, Lieutenant Colonel Alan Sierichs, Commander. The work is meant to pay
tribute to the military men and women who have sacrificed their lives for our
country. It includes words from President Reagan, General Eisenhower, and
President Lincoln. "Gardens of Stone" is programmatic in nature. The beginning
of this composition is subtitled Sunrise at Arlington Cemetery which is
followed by a fast Allegro section entitled Past Battles.

The use of the melody from the Civil War song, "When Johnny Comes Marching
Home," is meant to reflect the hopes and prayers that all soldiers will
come home safely from battles. Unfortunately, some do not.

This Allegro section is followed with music meant to represent a 21 Gun
Salute and Taps. After the Gettysburg Address there is a section entitled
Parade of the Fallen Heroes. This final section is a military parade
that would allow a color guard to march through the audience onto the
stage for the ending of the work if so desired.

This work has been written for both band and orchestra."



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Thank you for sharing!

---------- Post added at 10:55 PM ---------- Previous post was at 10:54 PM ----------

Thank you Stevie. Great post!

Link received!Greetings and best wishes!

No.920
Modern: Neo-Classical

In 1938, Walter Piston composed a ballet for the Viennese-American choreographer Jan Veen for a
performance by the Boston Pops under its long-time conductor, Arthur Fiedler. Two years later the composer
produced a suite of eleven numbers, about half of the music from the original ballet score, retaining the title,
The Incredible Flutist. The sparkling suite, played without a break between individual sections, became his
best known and his only composition with programmatic content. From the August 1938 issue of Dance magazine
we have the following summary of action: "The siesta is over. With a hearty yawn and a wide stretch, the village
shakes off its drowsiness. First to wake up is the Apprentice who opens the shop, and life begins its eventful flow.
The Merchant�s Daughters demonstrate their father�s wares to Shoppers. The Busybody and the Crank have their
argument. But what is this? � A march is heard! The Band, the Circus Band, marches in, followed by the people
of the circus. They�re all here: the Barker, the Jugglers, the Snake Dancer, the Monkey Trainer with her Monkeys,
the Crystal Gazer, and, of course, the main attraction, the Flutist � He not only charms snakes; he also charms�
the Snake Dancer�and the Merchant�s Daughter, and they meet at eight o�clock that very evening. When the
clock strikes eight, young couples are all over the place, and love is in the air. Even the prudish, rich Widow
cannot resist the charged atmosphere, and she grants the Merchant the kiss he�s been begging for well nigh
two years. But they don�t fare so well. Their sustained embrace is discovered, and the Widow faints right
into the arms of her bewhiskered boyfriend. But the Incredible Flutist hies to her rescue. A little dancing,
a little fluting, and the Widow comes out of her swoon, none the worse for wear. And then � the Band
strikes up, the spell is broken; the Circus, Incredible Flutist and all, leave the village."

The Fantasy for English Horn, Harp and Strings was written for the Boston Symphony�s English horn
player, Louis Speyer, and received its premi�re in January 1954 with the harpist Bernard Zighera and
conductor Charles Munch. Of this work the composer wrote, "The work intends primarily to exhibit,
and indeed it may be said to have been inspired by, the poetic beauty of the English horn as played
by Louis Speyer." Its opening calm yields to a buoyant staccato section and cadenza, returning to a
somewhat more elaborate version of the opening section.

The Suite for Orchestra, dating from 1929, was Piston�s first published work and reflects his early
years as a dance band musician. A strong rhythmic impetus and bluesy tone inform the first movement,
with pride of place going to the cellos. A lovely, reflective movement follows featuring a plaintive English
horn solo. The world of popular music is clearly in absentia in the rigorously contrapuntal finale that
develops into a nine-part canon.

Piston died a mere three weeks after the premi�re of his Concerto for String Quartet in October
1976. He scored the work for the unusual combination of string quartet, winds and percussion because,
in his experience, music written for quartet and orchestra invariably favored the orchestral strings to
the detriment of the chamber ensemble. Piston described the one-movement work as "a set of
variations � with the themes growing out of one another." Opening with a strongly accented section,
it soon withdraws into a mournful passage led by the string quartet. A quicker tempo returns in the
scherzo, with an animated dialogue between the strings and winds. After a string cadenza redolent
of the earlier mournful passage, a quick tempo is revisited, ultimately yielding to a quiet closing.

Although Piston had no particular religious affiliation, the Psalm and Prayer of David resonates deeply
with its effective alternation of the assertive and positive opening psalm and the following sorrowful
prayer-like psalm whose mood is deepened by a mournful phase for solo cello.

My rip is from the Delos original, not from the low-level Naxos release!



Music Composed by Walter Piston
Played by the Seattle Symphony and Chorale
With The Juilliard String Quartet
And Glen Danielson (English horn) & Therese Elder Wunrow (harp)
Conducted by Gerard Schwarz

"Listeners new to Piston�s music would do well to audition this disc, as it includes a nice cross-section
of the composer�s output, from his first published work (Suite for Orchestra) to his last (Concerto for
String Quartet). In between and opening this disc is the delightful ballet suite to The Incredible Flutist,
a piece that features a slithering tango, a lusty Spanish waltz, and a spirited Circus March that concludes
with a barking dog (a real one named Nori!). This quirky work�a sort of cross between Petrushka and
Parade�alone belies the academic patina that has plagued Piston�s name for decades. The fact that he
wrote the leading textbook on orchestration should lead more people to think that maybe he actually
knew something about it.

The dynamic Suite will excite anybody who loves Bart�k, full as it is with resounding canonic brass
fanfares, pounding percussion (watch out for the bass drum in the third movement), and chattering
strings. Piston also had a flair for elegiac melodies, as evidenced by his soulful English horn writing
(a bit aridly played and closely miked in this performance) in the Fantasy for English horn, harp, &
strings, and by the slow, calmer parts for string quartet in the Concerto (especially the quixotic
concluding viola solo).

Piston�s orchestral expertise finds expression in the superbly crafted choral works that close this
disc, works that are as buoyant as they are mysterious�and unforgettable. Of course, there are
other superlative performances of these individual works (Bernstein�s Incredible Flutist on Sony),
but Schwarz�s surveys remain essential listening for both lovers and newcomers to this great
American composer."
Classics Today





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No.921
Modern: Neo-Classical

Walter Piston was born Walter Pistone in Rockland, Maine on January 20, 1894 and died on November 12, 1976.
Piston taught himself violin and piano after his family moved to Boston in 1905. He worked as a draughtsman for the
Boston Elevated Railway Co. after graduating from the Mechanic Arts High School and played violin in theater orchestras
and dance bands. He attended the Massachusetts Normal Art School from 1912 to 1916, receiving a diploma in
architectural drawing. During World War I, Piston played saxophone in the navy band. After the war he earned his
living by performing in dance halls, hotels, restaurants, and at social events. He enrolled as a special student at
Harvard University in 1919. He graduated in 1924 and went to France where he studied with Nadia Boulanger and
Paul Dukas. On his return from France in1926 he accepted a position at Harvard, remaining there until 1960.



Music Composed by Walter Piston
Played by The Louisville Orchestra
Conducted by Jorge Mester & Robert Whitney

"Full of bracing Gallic clarity, wit and charm, Piston's harmonically conservative music
presents a wide dynamic range, from elegiac slow movements to rhythmically driving
finales. Well, by now you get the message. If you want to enjoy this stimulating music,
you'll have to stay home with your compact disc player."
Oakland Tribune





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I am sharing this album not for the overtly "patriotic" pieces (like the Battle Hymn of the Republic),
but because of the more reflective, thoughtful works that deal with suffering.


Thank you.

No.922
Modern: Neo-Classical

Canadian star soprano Isabel Bayrakdarian is the featured soloist in this recording
by the Orchestre symphonique de Laval � its first with current artistic director and
principal conductor Alain Trudel. The album is devoted to orchestral works by Ottorino
Respighi. Known for her sparkling stage presence and astonishing musicality, Bayrakdarian
joins the orchestra for Respighi�s setting of the lyric poem Il tramonto (The Sunset).

The five pieces that comprise the suite Gli uccelli (The Birds) pay homage to the
composers of the Baroque era who took pleasure in musically illustrating various aspects of
life � birdsongs, in this case. Trittico Botticelliano (Botticelli Triptych) consists
of three symphonic poems inspired by the three most celebrated canvases of the Italian painter
Sandro Botticelli. As a composer and musicologist, Respighi was especially interested in
early music, and particularly in Italian Renaissance and Baroque works. Antiche Danze ed Arie
per liuto, his orchestral Suite No. 1, was inspired by the music of four Renaissance composers.



Music Composed by Ottorino Respighi
Played by the Orchestre Symphonique de Laval
With Isabel Bayrakdarian (soprano)
Conducted by Alain Trudel

"Alain Trudel conducts with admirable restraint. Trudel�s no-nonsense way with Respighi speaks
volumes in the first set of Ancient Airs and Dances, which are done with plenty of wit and
elegance. The bright orchestral sound comes into its own in Trittico Botticelliano, where the t
extures are nicely clear and sensuous. Best of all, though, is Gli uccelli, where the playing is
excellent, the instrumental solos particularly graceful and poised. It�s very enjoyable, provided
Il tramonto is not your main focus of interest."
Gramophone



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No.923
Late Romantic

The eloquent power of Jean Sibelius�s symphonies and other core orchestral works
has overshadowed his prolific output in other genres, including significant scores for the
theatre. The commission to compose music for the tragic pantomime Scaramouche caused
Sibelius much stress and frustration, but on its premi�re the composer was able to note
�great success in Copenhagen� in his diary. With the exception of his one opera,
Scaramouche is Sibelius�s only continuous dramatic score, the story of the
sinister hunchbacked dwarf�s bewitching musicianship and evil intent taking us
from innocent charm to a nightmarish conclusion.



Music Composed by Jean Sibelius
Played by the Turku Philharmonic Orchestra
Conducted by Leif Segerstam

"The beautifully played Sibelius recordings by conductor Leif Segerstam and the Turku Philharmonic Orchestra
have often been revelatory, not least in the much-neglected area of the composer's theater music. Segerstam
found much of interest in the composer's incidental music, the forerunner of the soundtracks Sibelius might
well have written if he had lived in our time. But Scaramouche, Op. 71, composed in 1913, is something else
again: it is music for a pantomime, a genre not much in evidence for today (although it certainly has affinities
with the music video). The action of the mostly wordless play (there were a few spoken passages, excised in
this performance) was continuous, and so, thus, was Sibelius' music. It is thus a genuine piece of dramatic
music, of which there is very little in the Sibelius catalog, and for the most part it has more to do with the
developmental thinking of the symphonies than it does with the incidental music scores. Consider the clear
adumbrations of the Symphony No. 7 in C major, Op. 105, not written until some years later (sample the
little "Andantino" theme from Act II, Scene 3, track 13). The music is closely tied to the action of the
pantomime, which is summarized in the booklet notes, but it can also stand on its own. Highly recommended
to those who have been collecting Segerstam's whole series, for it shows a face of Sibelius that the other
entries have not shown. Scaramouche has rarely, if ever, been recorded in its complete form, and it's
something of a lost masterwork."
All Music





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:D


No.924
Modern: Neo-Romantic

Composer and pianist Walter Saul is the recipient of 24 ASCAP awards and numerous
other honours. His mission as a composer is �to create musical icons, windows of sonic light�
which point towards Christian spirituality. Kiev 2014 reflects on Ukraine�s challenges,
from the darkness of occupation towards hope and victory. The Violin Concerto is packed
with numeric symbolism, while A Christmas Symphony paints four significant scenes from
the Nativity. Saul�s Overture for the Jubilee explores the history of John Quincy Adams
and the abolition of slavery. From Life to Greater Life celebrates the transformation
to heavenly immortality, and the profound peace which concludes Metamorphosis stands
witness to the inner peace granted to the composer through his faith.



Music Composed by Walter Saul
Played by the National Symphony Orchestra of Ukraine
With James Buswell (violin) & Rong-Huey Liu (oboe)
Conducted by Theodore Kuchar

"Walter Saul is one of today�s most prolific North American composers, his portfolio of scores stretching
across all of the genres, though dominated by works for piano. He was born in 1954, his early music
education concentrating on the keyboard, though from the 1980�s he found himself increasingly in
demand as a composer. His symphonic output has been limited and appears to be contained on this
one disc, their mission being to create windows of sonic light revealing to us a little of Gods heavenly
glory. The disc opens in a world of strife in Kiev 2014, a rhapsody for oboe and orchestra reflecting
the turbulent history of the Ukraine and its struggle to live in peace. The Violin Concerto, in two
movements, asks us to reflect on the Lord, the work ending with the gathering of the multitudes
in triumph. If by now you are beginning to think that these are works couched in church traditions,
let me assure you that this is music composed in a modern view of tonality, often strong and weighty,
and all very well orchestrated. The soloist, James Buswell, captures the spiritual intensity and those
moments of peaceful solitude. A Christmas Symphony, is very much a festive work without
entering into the commercial world of the Festive Season. Yet Saul was mindful that he had
to write easily accessible music, and in that mode he was entirely successful. Metamorphosis
features the composer as the piano soloist, and is meant to reflect his transformation as a
follower of Jesus Christ. Overture for the Jubilee takes us back in time to joyous sounds of
the early 20th century, while From Life to Greater Life paints Saul�s religious conviction in
music. Throughout we have an orchestra and conductor, Theodore Kucher, who gives
excellent support to Saul�s musical world, and is captured in very punchy sound."
David�s Review Corner





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Jesus, let me life forever to listen to all of that music, what a lot new stuff, endless thanks wimpel69.

thank you so much, wimpel, this is the most enlightening thing on the net:-)

No.925
Modern: Tonal

Belgian-native Jan Van der Roost leads a prolific career as a composer, writing
works that span a variety of genres and styles, from oratorios and symphonies to lieder
cycles and wind band chamber pieces. Van der Roost's unique style has ushered international
renown, with his works recorded and performed worldwide, in addition to his guest professorships
across four continents. SIRIUS, Van der Roost's debut solo release on Navona, presents three
of his orchestral works: Sirius, a bright overture commissioned by De Nieuwe Veste;
Sinfonia Per Orchestra, a four-movement cyclical piece commissioned by the Lemmensinstituut
in Leuven; and Manhattan Pictures, a colorful piece evoking the multi-cultural atmosphere
of Manhattan.



Music Composed by Jan Van der Roost
Played by the St. Petersburg State Symphony Orchestra
And the Belgian Radio and Television Philharmonic Orchestra
Conducted by Vladimir Lande & Fernand Terby

"The world of contemporary composition is, as much as ever before, a multi-stranded stylistic affair.
Side-by-side these days there are the high-modernist post-serial composers of various stripes, then
there is post-romanticism, minimalism, new avant tonality, pan-harmonic, pomo collage, neo-classic,
and any number of other possibilities, all as we have seen in these pages, coming to bear on what
for more than 100 years we have considered a part of our age.

Composer Jan Van Der Roost has another take on all of this, well-represented on his CD Sirius and
Other Works for Orchestra (Navona 5919). There are three works presented for our consideration:
"Sirius," a "Sinfonia for Orchestra," and "Manhattan Pictures." It's music of a dramatic cast, very
dynamic and descriptive, tonal with some more expansiveness than one might find in a "typical"
neo-romantic, music with much in the way of kinetic energy and a somewhat mysterious cast.

The mystery is more to the forefront on "Sirius" and the Sinfonia; the kinetic energy is there to
greater or lesser degrees in all the works but especially "Manhattan Pictures."

These are works that undoubtedly take a good bit of rehearsal to resound with the multilayered,
orchestrally diverse sound-color palette and rhythmically-dynamically expressive tempestuousness
that the composer often favors. The St. Petersburg State Symphony Orchestra under Vladimir
Lande takes on the first two works; Fernand Terby conducts the Philharmonic Orchestra of the
Belgian Radio for the third work. I'll admit there seem to be moments here and there where
they could have benefitted from a tad more rehearsal time, but the spirit of the composer
comes through strongly in any event and these stand up as quite worthy first recordings.

One exits the CD with a very clear feeling for Van Der Roost and his orchestral style. There
is sometimes a feeling that we are listening to the music that follows in the heritage of "The
Rites of Spring" but in such a furtherance that the offspring has established an identity fully
personal. Moreover it is music that in a way synthesizes and re-presents the heritage of
orchestral developments we have seen over the past 100 years. That is the case. The music
fascinates. It will give your ears and your aural imagination a real workout--not to mention
your music system!"
Classical Modern Music Review





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No.926
Modern: Tonal

In the latest release in the Australian Composer Series, the Tasmanian Symphony Orchestra
celebrates the lyrical and beguiling music of Graeme Koehne.

The disc opens with the joyous fanfare Forty Reasons to Be Cheerful, commissioned for the 40th
anniversary of the Adelaide Festival Centre and inspired by the open-hearted optimism of Beethoven�s �Ode
to Joy�. The short elegy The Persistence of Memory is a haunting and poignant tribute to Guy
Henderson, former principal oboist of the Sydney Symphony Orchestra, a work inspired by what Koehne
describes as a �language of emotions�. �Music is part of how we communicate: it's what humans do � not
an abstract series of sounds. [This piece] reflects an attempt to return to the fundamental elements of
musical �language�.� Divertissement: Trois Pi�ces Bourgeoises expresses Koehne�s desire �to give
simple pleasure to my fellow-citizens.�

Between Two Worlds is a reflective work inspired by David Malouf�s novel Fly Away Peter, which
traces the journey from innocence to bitter experience of a young man enlisting in the First World
War; the six-movement suite is taken from the full-length ballet score commissioned from Koehne by
The Australian Ballet. The album closes with Time is a River: �The string quartet is the �river�,
pursuing its relentless course, by turns gentle, swirling, turbulent and free-flowing. The clarinet
represents some form of persona � a soul, if you like � that is carried along by the flow of the
strings, pursuing its own diverse range of characters: melancholic, reflective, playful, ecstatic,
capricious, finally reaching a state of acquiescence or acceptance.�



Music Composed by Graeme Koehne
Played by the Tasmanian Symphony Orchestra
Conducted by Richard Mills

"I was in a terribly bad mood when I sat down to listen to this recording. Not the best way to experience new
repertoire, but as the first track, �Forty Reasons to Be Cheerful�, evolved, it was like the sun came out and my
bad mood fell away. Although this �Festive Fanfare� is only six-and-a-half minutes long, the rest of the recording
was equally as fulfilling and, the only way I can truly describe it, beautiful. This is some stunningly gorgeous music.

After the bright opening we move into the gentle �Persistence of Memory� with soloist David Nuttall, principal
oboe of the Tasmanian Symphony Orchestra, sharing the spotlight with Jun Yi Ma and Sue-Ellen Paulsen. The
trio deliver a soulful beginning to the work and hearing their performance slowly dissolve into a full orchestral
work is like watching a cake bake: you can see it taking shape and know it�s going to be delicious.
�Divertissement: Trios Pieces Bourgeoises� surprised me with the colours it seems to send wheeling
around the orchestra, however it�s not really until �Between Two Worlds� expands over six movements
that we get some faster melodic ideas thrown into the mix. Finishing with the title piece, �Time is a River�,
Paul Dean compels as a soloist who works with the orchestra as a team rather than one who hogs the
spotlight. Together they make a new and beautiful musical experience.

Each work has a different story behind its composition and a couple have been rearranged from earlier
Koehne works into new forms. The Divertissement was originally a string quartet and �Between Two Worlds�
is a suite comprising music from Koehne�s ballet �Fly Away Peter�. Each work�s story is interesting and
distinct, but where they don�t differ is in Koehne�s indelible style shaping every note. The soloists and
the musicians of the Tasmanian Symphony Orchestra are terrific, and with Richard Mills at the helm,
this music sings."
Readings



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Thanks a lot for the Scaramouche share. It sounds great in H-D sound!!

No.927
Modern: Neo-Romantic

Mu Guiying is a heroine of ancient Chinese legend. In the Northern Song Dynasty, the north border
area of China was constantly invaded by the Khitans (Liao) from the north. Yang Jiye, a famous general,
made great contributions to the resistance against the Khitan invasion and finally died a heroic death.
Later his deeds were embellished in folk-story-telling and opera, and gradually developed into the legend
of Generals of the Yangs with a complicated plot. His personal story became that of several generations
of his family. The tone poem Mui Guiying Taking Command, composed by a group of members of
the Central Philharmonic Orchestra of China, consists of four movements in line with the development
of the plot.

Yellow Crane Mansion is a symphonic poem composed by Chen Peixun (aka Chan Pui-Fang)
as the first movement of Heroic Poetry, a symphonic poem based on Mao Zedong�s poems. The music
begins with a depiction of the beautiful sights of the mountains and rivers of the motherland. The mood
is in a turmoil just like turbulent rivers, which indicates the coming of a counter-revolutionary storm and
displays the furious indignation of the people rising against the enemy. Following this is the solemn and
stirring string passage which expresses the people�s memory of the revolutionary martyrs. The middle
part of the piece is bright and optimistic. The progressive rise in mood symbolizes the irresistible
torrent of the revolution. The music ends with the description of the radiant and enchanting spring
dusk scene. The distant bells to the tune of The East Is Red, a widely popular revolutionary folk-song,
foretells the rebirth of the revolution and the splendid future of the motherland.

The Tang Dynasty (618-917) was a brilliant period in the history of the Chinese poetry. During the
dynasty numerous poets wrote countless volumes of immortal poems, which have not only served to
nurture the literary talent of poets of development of later generations, but also inspired the artistic
creation of innumerable painters and composers. It was after the reading of a number of Tang poems
that the composer Liu Dunnan made the present Fantasy Poem on the basis of the
artistic conception of the poems.



Music by Chan Pui-Fang, Liu Dun-Man et al
Played by the Shanghai Philharmonic Orchestra
Conducted by Cao Peng & Wang Yong-Ji

"Wide, wide flow the nine streams through the land,
Dark, dark threads the line from south to north.
Blurred in the thick haze of the misty rain
Tortoise and Snake hold the great river locked.

The yellow crane is gone, who knows whither?
Only this tower remains a haunt for visitors.
I pledge my wine to the surging torrent,
The tide of my heart swells with the waves."
Mao Ze-Dong, "Yellow Crane Mansion"


Still from a performance of the Beijing opera Mu Guiying Takes Command.



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No.928
Modern: Avantgarde

The Seventh Symphony is a key work in Hans Werner Henze‘s symphonic production; his confrontation
with the classical- romantic tradition is particularly evident here. “Number 7 of my orchestral pieces is the one that
comes closest to the model of the classical symphony”, he once stated. Until he wrote this one, Henze had not
composed any symphonies for over a decade and meanwhile even admitted to the “impossibility” of “creating any
more symphonies today”. This work became a great success, however, which the listener will be able to palpably
experience with the help of this recording by the G�rzenich Orchestra of Cologne.



Music Composed by Hans Werner Henze
Played by the G�rzenich-Orchester K�lner Philharmoniker
Conducted by Markus Stenz

"The Seventh Symphony by the German composer Hans Werner Henze was written in 1983-84.
It was commissioned by the Berliner Philharmoniker as part of the orchestra's centenary
celebrations in 1982.

Unlike its immediate predecessors, Henze has stated that this work is very much a 'German'
symphony, in the Beethovenian tradition.[1] Accordingly, it is cast in four movements and is
broadly analogous to the 'classical' form: Introduction, slow movement, Scherzo and Finale.
However Henze uses even more traditional German motifs across the movements: an allemande
(a German dance) in the first and Liedform in the second. For the two final movements he
focuses on the eighteenth-century poet Friedrich H�lderlin, incarcerated at T�bingen where he
was subjected to what amounted to torture in the name of medical intervention. The final
movement is a deeply lyrical orchestral setting of H�lderlin's late poem H�lfte des Lebens
(Half of Life)."





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Thanks again for some very interesting music... scott

Many many thanks

t'ank you http://www.kolobok.us/smiles/standart/grin.gif

No.929
Modern: Various

Conductor Mark Mandarano and the Sinfonietta of Riverdale offer live performances of
American music recorded at their annual series of concerts. The program ranges from America's past
to present with luminaries from the past (Walter Piston) to the present time with three
generations represented by John Corigliano, Ellen Taaffe Zwilich, Byron Adams, and
Oliver Caplan. A survey that shows us where we have been, where we are, and where we are
headed.



Music by Walter Piston, Byron Adams & Oliver Caplan
And John Corigliano & Ellen Taaffe Zwilich
Played by the Sinfonietta of Riverdale
Conducted by Mark Mandarano

"The Sinfonietta's reputation for fine musicianship and stimulating programming has
been recognized by the public and the press. The ensemble has performed the music of world-
renowned composers and has a history of commissioned works, one of which (Lunastella) is offered
on this recording. Founded in 2008 by artistic director and conductor Mark Mandarano, the
Sinfonietta's recordings also appear on the Arabesque label. In addition to the Sinfonietta,
Mandarano has served as principal guest conductor of the Moscow Chamber Orchestra and has
led performances of the Los Angeles Philharmonic, Houston Symphony, New Jersey Symphony,
and N�rnberger Symphoniker, among others. He is a graduate of Cornell and the Peabody
Conservatory music and is director of instrumental music at Macalaster College."



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No.930
Modern: Avantgarde

Boreas is the first monograph devoted by Trit� to the work of David del Puerto.
It takes the title of the composer’s Symphony No. 1, the work that opens the album, which is
followed by other works composed between 1997 and 2004. David del Puerto has become one of the
key composers on the Spanish scene. Quality music recorded by leading orchestras which include the
Radio Symphony of Finland, JONDE, Sinf�nica de RTVE and Real Filharmonia de Galicia.



Music Composed by David Del Puerto
Played by the Finnish Radio Symphony Orchestra & Orquesta Radio Televisi�n Espa�ola
And the Joven Orquesta Nacional de Espa�a & Orquesta Real Filharmon�a de Galicia
Conducted by Sakari Oramo, Pablo Heras, Josep Caball� & Pedro Halffter

"David del Puerto was born in Madrid in 1964. He studied guitar with Alberto Potin, harmony with
Jes�s Mar�a Corral and composition with Francisco Guerrero and Luis de Pablo. Since 1985 he has
participated in many festivals and concerts in The Netherlands, Belgium, France, UK, Italy, Spain,
Japan, USA, etc., where his music has been performed by many international soloists, ensembles
and orchestras. He has received commissions from several institutions and performers, such as
Ensemble InterContemporain, CDMC-INAEM (Spain), Fundaci�n Juan March, Geneva City Hall,
Ars Musica Festival, Fundaci� de M�sica Contempor…nia de Barcelona and others. He has given
lectures and taken part in forum discussions in Madrid, Amsterdam, Brussels, Middelburg and
Valencia, and has taught composition at conservatories in Holland and Spain. In 1993 he won
the Gaudeamus Prize with his Oboe Concerto. That same year he received the prize "El ojo cr�tico"
of RNE (Spanish National Broadcasting). The Spanish Ministry of Culture has recently awarded
him its National Music Prize for 2005."



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No.931
Modern: Neo-Romantic

Resident Director of the Santiago Philharmonic Orchestra, conductor and composer
Jos� Luis Dom�nguez is one of Chile’s leading musicians. Set in California during the
Gold Rush of the mid-nineteenth century, The Legend of Joaqu�n Murieta is both an exciting
contemporary ‘action ballet’ and a stand-alone work in the great tradition of symphonic
film music. Its subject is the Californian brigand Joaqu�n Murieta, often seen as the
inspiration for Zorro, and the struggle of a small settlement against the Galgos
(The Hounds), a North American gang of vigilantes who harass immigrants and Native
Americans.



Music Composed and Conducted by Jos� Luis Dom�nguez
Played by the Santiago (de Chile) Philharmonic Orchestra

"Born in 1971, Jos� Luis Dom�nguez has been a prominent figure in his native Chile as a conductor,
but at the turn of the century turned his attention to composition. This was soon to bring about a full-
length ballet, The Legend of Joaquin Murieta, the story centring on California at the time of the Gold
Rush when a North American gang were terrorising the native Americans and the immigrants from
South America so as to drive them from that part of the world recently ceded to the USA. Dom�nguez
states that he wants the music to stand alone without the ballet scenario, but I guess you will want to
follow the story as set out in the accompanying booklet. Without that you would imagine the score as
having come from a leading Hollywood screen writer supplying the backdrop to a highly charged film
depicting American life that is long past. Imaginative in his scoring and often reminding of Ferde Grofe’s
epic American suites, the music is readily accessible, the first act dance of the drunken gang being
very funny, while the second act Pas de deux is an imposing and beautiful score. On stage, this must
add-up to a colourful and active ballet with the music as its backdrop. My first encounter with the
Santiago Philharmonica is one of admiration for an orchestra that could rival any of North America’s
provincial ensembles, with every department displaying their solo skills, and there is certainly no
lack of corporate virtuosity. The sound engineering is high on impact, with the Teatro Municipal in
Santiago becoming a fine recording venue."
David’s Review Corner





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No.932
Late Romantic

Two very important orchestral/choral works by Sir George Dyson (1883-1964). Interest in Dyson's
music is gradually stirring to life after decades of neglect. St Paul's Voyage to Melita and
Agincourt both show Dyson's love of words and voices. St Paul's Voyage is a choral work in one
movement with a part for solo tenor linking various sections of the narrative. Agincourt, a piece in
six sections divided by short orchestral links, takes words from Shakespeare's Henry V. Nocturne is
written for solo tenor, solo viola, strings, harp and organ, and uses the words of the poet Robert Herrick.



Music Composed by Sir George Dyson
Played by Bournemouth Symphony & Royal Philharmonic Orchestras
With Neal Mackie (tenor), Ossian Ellis (harp) & Jane Watts (organ)
And Royal College of Music Chamber Choir & Bournemouth Symphony Chorus
Conducted by Sir David Willcocks

"Nocturne (from Quo Vadis) is a reissue taken from a 1988 Unicorn-Kanchana release, and now that the
complete work is available from Chandos its presence is less of a draw than it once might have been.
However, the other two works are new recordings, and very important additions to Dyson�s catalog of
choral music. St. Paul�s Voyage to Melita has the singular advantage of depicting a storm at sea, which
the composer does with evident relish despite the somewhat austere orchestral palette. The reason for
this becomes clear at the end: when St. Paul and his passengers make it safely to dry land, bass drum
and chimes create an effect as simple as it is overwhelming.

Agincourt is an appropriately more gutsy setting of works from Shakespeare�s Henry V, and it includes
the same Agincourt Song that William Walton made famous in his score for the film version of the play.
Both works share the virtues of comparative brevity (about half an hour apiece) and directness, and it�s
very easy to imagine the great choral societies for which they were written enjoying them very much in
performance. Indeed, it would be very nice if an American choir or two would start exploring this
repertoire rather than inflicting yet another Requiem (pick one) or Carmina Burana on their audiences.
These are well-crafted crowd pleasers, plain and simple, and as such they deserve to be enjoyed by
a wide audience of choral music enthusiasts."
Classics Today





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No.933
Late Romantic

August Klughardt was born in Cothen and studied there, in Dessau and finally in Dresden (1866�7).
After conducting posts in Posen (1867�8), Neustrelitz (1868�9) and L�beck (summer 1869), he moved to
Weimar in 1869 and came within the orbit of Liszt. He met Wagner in 1873. His music became influenced
by the New German School: in particular his Symphony No.1 Lenore and his Second Symphony in F
minor. He returned to Neustrelitz in 1873 as music director and then to Dessau in 1882 as a greatly
respected Hofkapellmeister. His music gradually lost its overt New German characteristics and became a
conscious mix of the current radical and conservative styles. Klughardt's main areas of composition were
orchestral music (his symphonies and the Violin Concerto were admired), opera (he composed four,
all of which were produced), choral music (of which his great success was his oratorio The Destruction
of Jerusalem) and, towards the end of his life, some high quality chamber music.



Music Composed by August Klughardt
Played by the Anhaltische Philharmonie Dessau
Conducted by Antony Hermus

"I had never come across August Klughardt (1847-1902). There is a statue of him in Dessau, where
he spent most of his career, so he must have been highly thought of there, if nowhere else. I think I
know why I hadn�t heard of him before, if his Symphony No 4 is anything to go by: there is no distinct
musical personality behind the music. You can hear how well schooled in orchestration he is, you can
admire his craftsmanship and the subtle and often imaginative touches of colour he produces, you can
follow the ebb and flow of the structure.

But if the pleasant-enough symphony appears to go through the motions (extended first movement,
chorale-like slow movement, a brief scherzo that sounds like pastiche Beethoven and a finale which,
to quote an early review, �values contrapuntal work more than thematic invention�), Klughadt�s
Drei St�cke have a more individual flair. The first (Capriccio) features a prominent and highly attractive
duologue with the harp; the second (Gavotte) is a graceful look back at the dance form; the third
(Tarantelle), reminiscent of Rossini�s La danza and every other tarantella you�ve ever heard, has
instant appeal. The Anhaltische Philharmonia Dessau, of which Klughardt was music director from
1882 to 1902, boxes far above its weight under its present director Antony Hermus, and has been
well recorded."
Gramophone





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No.934
Modern: Avantgarde

This is the first monographic album devoted by the TRIT� label to one of its most emblematic
composers, Jes�s Torres, one of the foremost figures from his generation and a leading light on
the contemporary Spanish symphonic scene. Jes�s Torres’s music possesses great appeal and expressive
power and makes free use of both dissonance and tonality. In just a few years he has managed to shape
a personal style that revives historical compositional procedures and adapts them to a new, absolutely
up-to-date aesthetic.



Music Composed by Jes�s Torres
Played by the Orquesta Sinf�nica de RTVE & Orquestra de Cadaqu�s
And the Joven Orquesta Nacional de Espa�a
Conducted by Adrian Leaper, Gianandrea Noseda & Josep Caball�

"Jes�s Torres was born in Saragossa on 15 July 1965 of Andalusian descent, and lives in Madrid since
he was ten years old. Born into a family with a long musical tradition, he started learning the violin with
his uncle Jos� Torres and later entered the Conservatorio Superior de M�sica of Madrid where he received
his academic background. He studied composition privately with Francisco Guerrero from 1986 to 1988.

His catalogue expands for over ninety works and includes fourteen orchestral works and numerous works
of chamber music for the most varied tiped of ensembles. A special interest of his is setting texts to
music, above all the poetry of Vicente Aleixandre, alongside that of other literary figures including San
Juan de la Cruz, Rub�n Dar�o, Miguel Hern�ndez, Juan Eduardo Cirlot and Leopoldo Panero.

He has been the recipient of various awards, including that of the SGAE (Madrid, 1992), of Gaudeamus
(Amsterdam, 1995), the Valentino Bucchi Award (Rome, 1997), the Reina Sof�a Award (Barcelona, 1999),
The Millennium Chamber Players (Chicago, 2008) and the National Music Award 2012.

He spent the 1998-99 season as composer in residence of the National Youth Orchestra of Spain.
Since 2002, all of his compositions have been published by Editorial Trit� in Barcelona. Four portrait
CDs have already appeared on the Kairos, Verso, Trit� and Autor labels."



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And the next one is just as entertaining!


No.935
Modern: Neo-Romantic/Tonal

The recipient of numerous prestigious awards, Xiaogang Ye is regarded as one of today�s
leading Chinese composers. The Macau Bride is a colourful and evocative ballet based on a
story from the 17th century in which Chinese sailor Chon Kou and Portuguese captain�s daughter
Maria do Mar fall in love following a chance encounter in Bel�m. They set sail for Macau,
survive a storm and an attack by pirates, and are finally reunited and married in Macau.
The Four Poems of Lingnan come from the classical literature of ancient Chinese dynasties,
the songs adding powerful new dimensions to ancient masterpieces.



Music Composed by Ye Xiaogang
Played by the Macau Orchestra
With Liu Mingyan (mezzo-soprano)
And the Macau Youth Choir
Conducted by L� Jia

"Those who wish for more demanding music, of greater depth, will perhaps not respond to this music.
However, for all its lighter nature this is music that has a natural beauty, finely orchestrated.

The Macau Youth Choir and Macau Orchestra conducted by L� Jia provide fine performances whilst
mezzo-soprano, Liu Mingyan, is in excellent voice.

Four Poems of Lingnan, Op. 62 (2011) was commissioned by the Cultural Affairs Bureau of Macau
and the Macau Orchestra and sets poems by a number of poets from early dynasties on the
subject of Lingnan, a region of Southern China.

Bidding Farewell to a Friend to the South of the Five Ridges brings a gentle orchestral opening
with flute before tenor, Shi Yijie enters. There are gentle dissonances here and a lovely orchestral
backdrop to the tenor�s fine voice. This setting that opens on the words, �The overlapping mountains
of old Jiaozhou�, is full of drama and poetry with a dynamic orchestral ending.

Fluttering woodwind lead into the faster moving The Best for Huizhou,a buoyant setting evoking the
opening words, �Under the Luofu Mountain all seasons are spring�, where Shi Yijie brings a melodic
freshness to the music. Again, subtle little dissonances intrude as the melody flows quickly forward.

A slow gentle melody opens Bidding Farewell to Li Meizhou before the tenor sings a gentle plaintive
setting with some sensitive, poetic orchestral passages with exquisite woodwind sounds. Shi Yijie is
terrific, particularly in the coda, showing fine control.

Brass open Ascending the Zhenhai Tower at Chongyang Day, before orchestral flourishes introduce
the tenor. There are swirling orchestral sounds between the sung texts. This tenor has a powerful
voice, rising to the climaxes magnificently and beautifully controlled in the final poetic conclusion.

If the ballet suite is a lighter, romantic work, then the settings of poems are deeper and more
adventurous in their language. L� Jia and the Macau Orchestra provide excellent accompaniments
to tenor, Shi Yijie�s, fine voice.

With excellent performances and a fine recording, this new release will appeal to many. There are
informative booklet notes and full English translations of the Chinese texts. More information about
some of the instruments used would have been useful."
The Classical Reviewer





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Thank you for The Legend of Joaqu�n Murieta. Its a rousing, Golden Age style romp and unabashed beauty of a work of music. Thank you

That describes it perfectly. A romp. Just great, colorful music!

thank you very much Wimpel, i'm impatient to listen this unknown Sibelius for me...

Many thanks

Thank you for the Kulghardt symphony, it's quite a find. Much appreciated!

Many thanks

No.936
Modern: Neo-Romantic

Florencio Asenjo�s music is inspired by literature and the visual arts as
these three works so aptly show. El Gran Teatro del Mundo (The Great Stage
of the World) is the title of a sacramental play by Calderon de la Barca, while
Gleanings from the World of Lafacadio Hearn comes musicially from parts of
Hearn's stories. The Birth of Venus reflects Asenjo's reaction to Sandro
Botticelli's Nascita della Venere. This is the sixth release of Asenjo's orchestral
music to be released on Albany Records.



Music Composed by Florencio Asenjo
Played by the Bohuslav Martinu Philharmonic Orchestra Zlin
Conducted by Kirk Trevor

"Mathematics professor emeritus Florencio Gonzalez Asenjo died June 10, 2013. He was 86.

A native of Buenos Aires, Asenjo earned his PhD from the University of La Plata, Argentina.

He taught at LaPlata, then headed the calculus and statistics section of the Argentine Laboratory for
Testing Materials and Technological Investigations before coming to the United States in 1958 to take
a faculty position at Georgetown University. Asenjo also taught at the University of Southern Illinois
before joining the Pitt mathematics faculty as an associate professor in 1963. He rose to full professor
in 1966 and retired in 2001.

Asenjo enjoyed an international reputation in the study of mathematical theory, lecturing in Argentina,
Brazil, Venezuela, Spain, Portugal, Bulgaria, Poland, Romania, the Netherlands, France, England,
Sweden, Liechtenstein, Belgium and India, with research published in journals around the world.

He also wrote symphonic music, having studied with Spanish composer Jaime Pahissa. He composed
music for piano as well as chamber music and orchestral pieces. His works have been performed by
the Eastman Philharmonic, Eastman Wind Ensemble, U.S. Air Force Band, American University
Orchestra, LaPlata Symphony Orchestra, Slovak National Symphony Orchestra, the Bulgarian
Philharmonia and the Warsaw National Philharmonic Orchestra.

While he continued to write and lecture in his field, in his retirement Asenjo turned additional
attention toward his music. He completed the recording of his 10th major work in May.

James V. Maher, provost emeritus, remembered Asenjo as kind and gracious. �He was a very
dedicated professor and a good colleague. He put a lot of effort into making Pitt a wonderful university.�

Math department colleague Anna Vainchtein, who became friends with Asenjo when she arrived
at Pitt in 2000, remembered him as very passionate about his work, both in mathematics and music.

�After Florencio retired and had more time to compose music, a number of CD recordings of his work
were made by various European orchestras, with Kirk Trevor as the conductor, and Florencio traveled
to Europe for each recording. When we met for lunch, he would always tell me about his new CD,
the artwork he selected for the cover, the story behind the music and the new project he was working
on. We would also talk about poetry, politics, mathematics and so many other things that interested
him,� she said.

�Florencio was full of life. Most people half his age do not have the incredible amount of energy he had.
He was always looking forward to his next project, his upcoming travels, a mathematics lecture he
was going to present. It is very sad that he is no longer here, and I will miss him a lot.�

Juan J. Manfredi, vice provost for undergraduate studies and professor of mathematics, said, �He
was a true renaissance man. His area of expertise was mathematical logic but he also worked in
philosophy � he was always attracted to philosophy � and he was a gifted musician. He was a
classical professor, interested in understanding the world. A new renaissance man: He was not
only good at these things, but he had interest in them.�



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No.937
Modern: Tonal

In the twenty years since his death the star of the Polish-born Moscow-based
Mieczysław Weinberg (1919�96) has risen rapidly: his music � a highly individual
amalgam of the Jewish idioms of his youth and the style of his mentor and friend Dmitri
Shostakovich � is now seen as one of the most distinctive contributions to twentieth-
century music. This further installment in the Toccata Classics examination of his output
couples a mature dance-based score, the Choreographic Symphony � not performed
before this recording � with his last symphony, Symphony No.22, orchestrated after
his death by the composer Kirill Umansky.



Music Composed by Mieczyslav Weinberg
Played by the Siberian Symphony Orchestra
Conducted by Dmitry Vasiliev

"From 1958 The White Chrysanthemum ballet in three acts after A. Rumnev and J. Romanovich has a
scenario based on a girl who is blinded at Hiroshima but later has her sight restored by Soviet doctors.
The ballet was never staged probably due to difficult political relations with Japan around that time.
No score has been found and it is even possible that Weinberg left the ballet unorchestrated. It was
Weinberg himself who extracted the Six Ballet Scenes and orchestrated them as the Choreographic
Symphony and dated the manuscript July 1973. This is a memorable score, full of delicious contrasts,
often percussion laden in a similar way to late Shostakovich. In the energetic and restless opening
Allegro the forceful percussion seem to be jousting with the strings and the following Adagio is
infused with an exotic middle-eastern flavour. Appealing is the playful and dance-like Allegretto and
the dark mystery of the Adagio-Moderato is heavy with foreboding. Especially engaging, the
penultimate movement an Adagio contains some gloriously melodic writing that could have easily
come from the pen of Rachmaninov. Ending the work the Presto just bristles with raw energy.
Towards the beginning of the movement the music contains a definite klezmer feel but overall
has all the vivacious force of Prokofiev.

Illness delayed Weinberg�s writing of his Symphony No. 22 and it was left unfinished at his death
in 1996. Dedicated to Olya his wife the unfinished manuscript was completed in piano version only.
Weinberg�s widow suggested to Kirill Umansky that he might orchestrate the score. Immersing
himself in Weinberg�s symphonic music Umansky completed the orchestration and the first
performance was given by the Belgorod State Philharmonic Orchestra in 2003. The symphony
steeped in melancholy is notable for its bleak rather severe character and sense of foreboding.
I found little in the way of contrast throughout the three movements and although it�s not a work
I especially enjoyed its intensity and severe emotions are certainly hard to ignore. At just under
25 minutes the opening movement is over double the length of the next longest. Titled Fantasia
the writing contains a feeling of intense sadness and a searching quality combined with a near
constant icy chill. Relatively short at just over 5 minutes the second movement an Intermezzo
contains that now familiar bleakness although it�s not quite as harsh. Titled Reminiscences
the Finale eschews originality returning to the austere character of the opening movement."
Musicweb





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No.938
Modern: Americana

Portraits of Colorado (An American Symphony No.1) is the first in a series of symphonies
composed by Charles Denler. Inspired by a sunrise over the Rocky Mountains, and the incredible
works of American painter, Jerry Malzahn, this first symphony carries with it a theme of hope and
of new beginnings. Charles Denler’s multiple Emmy Award-winning music for film and television is
known worldwide, and his orchestral works have been played by top orchestras. Charles’ classical
training and strong proficiency with contemporary sound allow him great flexibility and versatility
as a composer and pianist. On this album, the Colorado Symphony and Chorus perform his tuneful
and evocative music with great style. We are delighted to present the premiere recording of his
new symphony on Fresh! from Reference Recordings.



Music Composed by Charles Denler
Played by the Colorado Symphony Orchestra
With Yumi Hwang-Williams (violin) & Charles Denler (piano)
And the Colorado Symphony Chorus
Conducted by Scott O'Neil

"Portraits of Colorado is a new composition by Charles Denler on Reference Recordings Fresh label.
The ten movement Symphony Number 1 was inspired by Denler’s view of the Rocky Mountains from
his Colorado home. It’s an ambitious work for orchestra and chorus, and when listening, it sounded a
bit like a soundtrack for a movie or an IMAX documentary. As a result, it wasn’t too surprising that
Denler has written for film and TV. That’s not a knock, it’s just that the music has that kind of sound.

The ten short movements were also a bit surprising. In the liner notes, Denler states that young
people are accustomed to playlists and shorter pieces of music, so he obliges with ten short
movements. I think he might be selling serious music lovers who are young a bit short, but
he’s the composer and he can construct his symphony any way he wants.

The music itself is quite listenable. There are certainly some references to ‘Americana’ and some
‘Coplandesque’ flourishes, but the symphony is a good listen. The performance by the Colorado
Symphony and Chorus conducted by Scott O’Neil is a fine one, and the HDCD recording is beyond
criticism. There is a stable image of the orchestra, nice rendering of hall ambiance, and a wide
dynamic range, owing in part to the HDCD format, which my Oppo BDP-103 can decode.

The disc finishes with Denler’s Six Variations for Violin and Piano are based on themes from the
Symphony. These are also well-recorded by closer in microphones, and the sound is resonant
and full bodied. The music in the disc was influenced by American painter Jerry Malzahn, and
examples are showcased in the liner notes.

The CD as a whole is a worthwhile listen. There’s nothing deep here, just evocative music well-
played and well-recorded. All in all, 44 minutes well spent."
Mel Martin, The Audiophile Audition



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No.939
Modern: Tonal

The Symphony No.6, composed in 1967, is Malcolm Arnold's shortest symphony (about 25 minutes),
has three movements and was premiered the following year with the composer on the podium. The first of the three
movements suggests improvisational jazz, an influence often found in Arnold�s music, and in the second we have
once again a powerful Mahleresque funeral march. The third is replete with brass fanfares and ends, as did the
Symphony No.5, with bells, but here they are triumphant.

The Tam O'Shanter Overture was completed in March 1955. The overture is a piece of programme
music based on the famous poem by Robert Burns. Arnold musically depicts Tam on the trombone, drunkenly
clambering on to his mare Meg, encountering the raucous scene at Kirk Alloway before being chased across
the Brig o'Doon. The work was first performed at the BBC Proms on 17 August 1955, with the composer
conducting the Royal Philharmonic Orchestra.

The ballet Sweeney Todd was composed in 1959. It is a one-act ballet based on the legend of
Sweeney Todd. The scenario and original choreography were by John Cranko and the scenery and
costumes by Alix Stone in the style of Victorian toy theatres. In 1984, the composer David Ellis
compiled a 20-minute concert suite, from the ballet in collaboration with the composer.

Fantasy on a Theme of John Field for piano and orchestra is another astonishing creation,
enjoyably bonkers in its disparate stylistic borrowings and wild mood-swings, yet also
wholly characteristic in its urgently communicative manner.



Music Composed by Malcolm Arnold
Played by the Royal Philharmonic Orchestra
With John Lill (piano)
Conducted by Vernon Handley

"How long will excuses need to be made for the greatness of Malcolm Arnold as a symphonist?
Apparently exactly as long as he insists on being bitterly banal and hopelessly vulgar, along with
wonderfully lyrical and brilliantly colored and inexorably driven and powerfully argued. Is this a
good thing? Perhaps it is not, but it is nevertheless a great thing. As his Symphony No. 6,
completed in the summer of 1967, shows, Arnold was as great a symphonist as Tippet or
Walton, but he was a harder, tougher, and sharper composer than them. And such a cornball:
the Sixth has pages of solemn and profound thought juxtaposed against page after page afte
page of vulgar banality.

And, amazingly enough, Vernon Handley is such a serious and conscientious conductor and
the Royal Philharmonic performs Arnold's Sixth with such gusto and virtuosity that it all works.
And it works not just in the symphony, but in every other work on the disc, as well: the Chico
Marx meets Spike Mulligan of Arnold's Fantasy on a Theme of John Field, with the piano solo
performed by the indefatigably hilarious John Lill; the fractured fairy tale and low comedy of
Arnold's Concert Suite from his ballet Sweeny Todd -- the demon barber of Fleet Street --
performed with inexhaustible good humor and a certain degree of grim determination;
the galloping banality and breezy vulgarity of the Tam O'Shanter Overture, which is
interpreted with such tight-lipped intensity by the serious Handley and such virtuosity
by the R.P.O. that when Arnold bursts into a massive orchestral imitation of a bagpipe
followed by a monumental hornpipe, all you can do is laugh."
All Music





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Nice, thanks!

No.940
Modern: Avantgarde

Joan Guinjoan�s (*1931) musical training was undertaken in Barcelona and Paris,
where he won many important prizes. In 1964, after following a busy career as a pianist,
he established contact with the French musical avant-garde and decided to devote himself
solely to composition. Guinjoan has received commissions from many soloists, chamber music
groups, and orchestras. Together with Juli Panyella, Guinjoan founded the ensemble
Diabolus in Musica. He has conducted various ensembles and symphony orchestras both in
Spain and abroad. Notable amongst his conducting achievements was the Spanish premiere
of Stravinsky�s Histoire du soldat. Between 1968 and 1975 Guinjoan was music critic
for the newspaper Diari de Barcelona. Guinjoan�s music is celebrated in an extensive
list of recordings, some conducted by himself.



Music Composed by Joan Guinjoan
Played by the Orquestra Simf�nica de Barcelona i Nacional de Catalunya
And the Orquestra de Cad�ques
Conducted by Ernest Mart�nez Izquierdo & Neville Marriner



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Oh wow, what amazing shares, so fantastic music, billion thanks wimpel69.

Dear Wimpel
i've to gratulate your upload of contemporary american symphonies is highly valuable.
Best

No.941
Modern: Tonal

epicting 12th-century Persian poet Farid ud-Din Attar’s dramatic narrative,
New York-based composer and GRAMMY-nominated conductor Jonathan Sheffer
presents his orchestral work The Conference of the Birds, commissioned
for the Cabrillo Festival of Contemporary Music, on Navona Records. Attar’s
poem of the same name is a journey of transformation and conviction, in which the
birds of the world seek to find an illustrious leader, ultimately ending with new
insight into their spiritual identities. The allegory portrays our own doubts,
fears, and faults, how we confront these issues, and how we seek to understand
identity and our relationships with other humans, the natural world, and what
lies beyond.

Masterfully performed by the Moravian Philharmonic Orchestra, conducted
by Sheffer himself, the music illustrates several events in the poem: the Hoopoe's
assembly of the birds, with their uncontrolled chatter; the birds’ individual
arguments, revealed in a series of refusals to embark on the spiritual journey;
the difficulties of the journey itself; the final arrival at the Simorgh’s court;
and the transcending conclusion to their quest.



Music Composed and Conducted by Jonathan Sheffer
Played by the Moravian Philharmonic Orchestra
With Joyce DiDonato (narrator)

"Sheffer's range of works comprises television and feature film scores, works for orchestra,
solo piano, concerti, musicals, and short operas.

The focus of a Guggenheim Works & Process series event in October 1999, Sheffer’s opera
Blood on the Dining Room Floor, which uses text from Gertrude Stein, received the Richard
Rodgers Production Award from the American Academy of Arts and Letters and was produced
off-Broadway in 2000, Sheffer has had fellowships at both Yaddo and The MacDowell Colony,
and in 2003 was a Visiting Artist at the American Academy in Rome.

He has continued his film scoring career, finding himself in demand for movies with a colorful,
dramatic element. These included work on Omen IV, Bloodhounds of Broadway, Darkman
(a collaboration with Danny Elfman), In a Shallow Grave, Alien 3, Interview with the Vampire,
Michael Collins, Sphere, Batman Forever, and Batman and Robin as well as the recent
documentaries, HBO’s Mann v. Ford (2010) and The Decent One (2014).

His symphonic conducting debut was in 1991 with the San Diego Symphony Orchestra.
In 1992 he was assistant to Michael Tilson Thomas at both L'Orchestre National de France
and the London Symphony Orchestra.

In 1995 Sheffer founded Eos Orchestra, an innovative organization which specializes in
new and neglected music. Eos concerts were featured frequently on NPR’s Performance
Today, and in 1999 Sheffer conducted Eos at a ceremony held at the White House for
the presentation of the National Medal of Arts and Humanities.

Sheffer and Eos Orchestra received a GRAMMY nomination for their collection of rare
film music by Aaron Copland, Celluloid Copland, as well as recorded for a PBS program
on Aaron Copland for broadcast in November 2000.

Sheffer has conducted the American Ballet Theatre at the Metropolitan Opera, as well
as the Brooklyn Philharmonic, in 1997 performances of the Mark Morris Dance Company
at Brooklyn Academy of Music. In 1996, he led the Scottish Chamber Orchestra with
the Martha Graham Dance Company at the Edinburgh Festival.

Sheffer graduated from Harvard University and later attended The Juilliard School
and Aspen School of Music. His teachers included Leonard Bernstein, Jay Gottlieb,
and Leon Kirchner."



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No.942
Modern: Light/Neo-Romantic

An album chock full of light (and not quite so light) shorter orchestral works
by Anthony Collins (1893-1963).

The Hastings-born Collins is best remembered as a conductor of other people's works,
most notably a cycle of Sibelius symphonies he recorded with the LSO in the 1950s. His own compositional
output includes several operas, violin concertos and a variety of bonbons, the most popular of which.
Vanity Fair, is included in this collection. The most substantial work, the Symphony for Strings,
displays his superb craftsmanship in writing for string orchestra, but he's quite the orchestrator when
working with the full symphonic aggregate, too.

Victoria the Great is one of Collins' several film scores, and full of the expected "trappings".
All in all, a very delightful disc which no lover of British Light Music should overlook.



Music Composed by Anthony Collins
Played by the BBC Concert Orchestra
Conducted by John Wilson

"The name Anthony Collins (1893�1963) calls up for older collectors the distinguished conducto
r of highly regarded interpretations of late-Romantic music recorded for the English Decca/London
label, especially his then-definitive Sibelius cycle. Not many knew about his parallel extensive
work as a film composer�some dozens of scores written during the 1930s and 1940s, plus even
a handful of post-war Hollywood films, such as �Swiss Family Robinson.� And yet this former
orchestral violist and pupil of Holst also produced a catalog of large-scale concert music,
including four symphonies and two violin concertos, many of which were never published
and are now considered lost.

So this varied and lively survey of his work as a composer�the first recording of its kind ever�
is reduced to highlighting some of his more modest pieces, intended for either film or radio
broadcast and in a few instances approaching the category of �light music.�"
Fanfare





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Thank you for sharing this!

Super share, what a treasury, BIG thanks wimpel69.

No.943
Modern: Tonal

I shared this album before in a separate thread, but that link is dead.
And it fits very nicely in here anyway:

"Well, The Island�s an old work; you�ve got to bear in mind the history of that particular work,�
and he outlines how he was commissioned to do a score for a video-game which led to him booking an
entire orchestra and choir, �and as soon as I finished the computer game, I whipped out my new
symphony and recorded it for nothing there and then! I�m really proud of it. My mum�s used that
particular symphony for cancer healing for the last ten years, quite successfully actually."
Jaz Coleman

Jeremy "Jaz" Coleman (*1960) has had his hand in many genres of music, from post-punk angst
to composing classical music. A Londoner residing in New Zealand, Coleman came to the
public's notice singing and playing keyboards in the band Killing Joke in 1978.
As Killing Joke's career began to slow down in the early '90s, their singer worked
with Art of Noise member Anne Dudley on the 1991 Middle Eastern themed Songs from
the Victorious City. Coleman teamed with Killing Joke bassist Youth and collaborated
on two symphonic albums: 1994's Symphonic Music of the Rolling Stones and 1995's
Us and Them: Symphonic Music of Pink Floyd. In 2000, Coleman arranged his third
symphonic work Riders on the Storm: The Doors Concerto, featuring virtuoso
violinist Nigel Kennedy performing as the voice of Jim Morrison.



Music Composed by Jeremy "Jaz" Coleman
Played by The Auckland Philharmonia
With Hinewehi Mohi (soprano) & Steve Howe (guitar)
And the Viva Voce Chorus
Conducted by Peter Scholes


"Jaz" Coleman.



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No.944
Modern: Tonal

As he grew older, Arthur Honegger (1892-1955) more and more embraced Catholicism. And as he lived
through the war, the occupation, and the liberation, he wrote his Symphony No.3 "Liturgique" as "the
reaction of modern man against barbarity, stupidity, sufferings, mechanism, and bureaucracy." Composed
between October 1945 and April 1946, Honegger described his symphony as "a drama which is enacted, if you
like, between three characters, real or symbolic: misery, happiness and man. These are eternal themes. I
have tried to bring them up to date." The work was premiered in August 1946 by Charles M�nch in Switzerland.
The "Liturgique" is scored for large orchestra and set in three movements with titles taken from the
Catholic liturgy: "Dies Irae," "De profundis clamavi," and "Dona nobis pacem." As Honegger vividly described
them to a friend: "Dies Irae" is "Human terror in from of divine wrath...Day of Wrath! There is a rapid
succession of violent themes...there is not time to breathe, no time to think, the hurricane carries everything
before it, sweeps everything away. Blindly, furiously..."; "De profundis clamavi" is "the painful mediation
of man forsaken by divinity -- a meditation which is already a prayer...And how hard it is to put inside
human mouths a hopeless prayer!"; and "Dona nobis pacem" is "Collective stupidity as a heavy-footed
march for which I wrote a deliberately idiotic theme...a feeling of rebellion dawns in the ranks of the
victims...a huge clamor thrice repeated breaks from the oppressed throats...a song of peace soars
above the symphony as the dove soared in the old days above the immensity of the ocean."

Honegger's Symphony No.2 ("for Strings") was begun in 1937 as a commission from Paul Sacher
of the Basel Chamber Orchestra. But the rising international tensions in the late 1930s and finally the
start of the war in 1939 interrupted its progress and the "Symphonie pour cordes" was not completed
until 1941 and was premiered by Sacher in 1942. As much as Vaughan Williams' Fourth or Shostakovich's
Seventh, Honegger's Second is a war symphony. Cast as all Honegger's symphonies are -- in three
movements -- the work charts the same course as Beethoven's Fifth, the course from darkness to light.
The Second opens with a weighty Molto moderato wrenched into a bludgeoning Allegro; moves through
a "somber, not to say, at times, positively hopeless" Adagio mesto; and ends in a climactic Vivace non
troppo -- Presto. In the closing pages, Honegger calls for a solo trumpeter ad lib who "calls forth a
golden sun on the horizon. Joy conquers at last, but only at the very last moment." Honegger's
language is astringent, but still tonal, his rhythms abrasive and propulsive, his forms lithe but
monumental, his intentions noble, and his success complete.

Arthur Honegger's Rugby (1928) takes a place among the composer's best-known orchestral
works. Rugby is the second in a series of "mouvements symphoniques". These short, intense works
took their inspiration in part from purely practical concerns: Honegger observed that orchestras
often tended to turn away from modern music, preferring to stick to time-tested repertoire; by
expressing his ideas in the compact "mouvement symphonique" format, he hoped to give them
greater potential for success among conductors and audiences alike. Per the suggestion of its title,
there is hardly a dull moment in Rugby. A rapid ascending figure in the violins heralds a flurry
of activity. A fast triplet figure repeats numerous times until the trombone enters with a fragment
of the "sport" motive. This theme, as it were, takes a while to develop more fully; like a ball being
passed about, it restlessly moves from one instrumental grouping to another. A more lyrical line
emerges from the violins, but is soon swept away in a flurry of activity.

Pacific 231 caused a sensation at its May 8, 1924, Paris premiere, ushering in a trend toward
mechanistic works, a trend that influenced even giants like Prokofiev, in his Symphony No. 2, and
the then Paris-based lesser light American composer George Antheil in his riotous Ballet m�chanique.
But Pacific 231 (this is really the subtitle and Mouvement symphonique No. 1 the actual title),
never caught on like other sensational Paris premieres, such as Stravinsky's The Rite of Spring. Still,
it is hardly a neglected piece today, and how many twentieth century works can approach the
popularity of Stravinsky's masterpiece? Pacific 231 depicts the mechanical movements of a
train, the Pacific 231. It starts off chugging, gradually gaining momentum, a momentum the listener
soon senses will turn brutal and crushing. The music gains in energy, never losing its motoric poise,
its austere determination taking on the role of an unleashed force of nature, blindly wreaking its
savagery to all things in its path. The music grows in intensity, melody not significant to its expressive
manner here, only rhythm and headlong drive. After a powerful climax, the work ends with the
locomotive elements slowing but not surrendering their all-conquering grip.



Music Composed by Arthur Honegger
Played by the Radio-Sinfonieorchester Stuttgart des SWR
Conducted by St�phane Den�ve

"Honegger's music is heard with shameful infrequency in these parts. This single disc, in Den�ve's
capable hands, offers a summary of why this is unfortunate. The third symphony, known as
"Symphonie Liturgique," is a smoldering commemoration of the horrors of World War II. The
slow movement ("De profundis clamavi") is especially beautiful, representing a more tonal strand
of 20th-century music that now seems more relevant than ever. The second symphony, for intensely
scored string orchestra, grows in its anguished statement until a trumpet rises heroically out of the
strife, played here by Thomas Hannes. As lagniappe, Den�ve offers two more familiar single
movements: the agitated Rugby (Mouvement Symphonique No. 2), with the Stuttgart RSO's
blazing brass, and the famous Pacific 231."
Ionarts





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No.945
Modern: Tonal

Peter Racine Fricker (1920-1990) was among the first composers in Britain to be
influenced by the music of B�la Bart�k, Arnold Schoenberg and Igor Stravinsky, assimilating
aspects of their very different styles into a distinctive musical voice of his own.
Unconcerned by the vagaries of musical fashion, he proceeded to build an impressive body
of work in his highly expressive, urbane and freely atonal language. His catalogue, which
exceeds 160 pieces in total, encompasses all the main genres with the exception of staged
opera. The Vision of Judgement was first performed on 13 October 1958 at Leeds Town Hall
as part of the Leeds Centenary Festival. The performance presented here is conducted by
Charles Groves, who was familiar with the Fricker style, having taken up the composer’s
First Symphony and performed it in one of his last concerts as conductor of the BBC Northern
Orchestra and then introduced it in Bournemouth and on the Continent. Dedicated ‘to the
many fine musicians with whom I have had the pleasure of working so happily in the Royal
Festival Hall’, Fricker’s Symphony No.5 was premiered by organist Gillian Weir with
the BBC Symphony Orchestra under Colin Davis on 5 May 1976 at the RFH in the
presence of the composer. It was featured at the Proms on 11th August 1976 with the organist
Jennifer Bate and the BBC Northern Symphony Orchestra under John Pritchard. Terse and
direct, the score offers some grand gestures in its lively outer sections which are
offset by eloquent dialogues between its two principal protagonists in the interludial
central segment. Considerable tension is generated in the closing pages, which present
an unbuttoned, euphoric display of bravura.



Music Composed by Peter Racine Fricker
Played by the Royal Liverpool Philharmonic Orchestra & the BBC Symphony Orchestra
With Jane Manning (soprano), Robert Tear (tenor) & Gillian Weir (organ)
And the Leeds Festival Chorus
Conducted by Sir Charles Groves & Sir Colin Davis

"Having at last heard The Vision of Judgement what is my reaction to it? It’s an undeniably impressive
score which makes a huge impact. Fricker has chosen a hugely ambitious subject but His musical invention
doesn’t fall short in the face of the challenge posed by the subject matter. The language is firmly tonal but
laced very strongly with dissonance. The score is intensely dramatic and very powerful. He’s particularly
successful in pointing the contrast between the terrors of Part I and the jubilation of Part II. So far as I
can tell, given that the work was completely new to me and I haven’t seen a score, the performance is
as assured as it is committed. The soloists sing demanding music with ringing commitment and the
orchestral response is vivid. The chorus acquit themselves with distinction in the face of what is obviously
a tremendously challenging score; clearly their chorus master, Donald Hunt had prepared them
exceptionally well.

In the booklet Paul Conway expresses the view that The Vision of Judgement “deserves to be heard
more often, preferably in a cathedral where its potent mix of grand spectacle, broadly conceived
paragraphs and spiritual intensity can be experienced to full effect.” This summing up of the “potent
mix” of the score is right on the money. However, I don’t think that I’d agree about the ideal place in
which to hear the work live. A cathedral would provide ambience, for sure, but it would also provide
a very resonant acoustic. I strongly suspect that such resonance, which would be even greater than
that of Leeds Town Hall, would significantly blunt the cutting edge of the music and make Fricker’s
often-teeming textures sound even more dense. No, if the work is to be heard live it needs the clarity
of the acoustics of a modern concert hall such as Symphony Hall in Birmingham. Sadly, however,
I’m not going to hold my breath because the lavish scoring and heavy rehearsal demands of the score
would make any concert promoter very thoughtful indeed about mounting a performance. I’m sure
any such putative promoter would be very apprehensive about filling the hall for this little-known
work. All of which must make us even more thankful that The Vision of Judgement is at last
available in a commercial recording and one, moreover, that does justice to the piece.

The other work on the disc is Fricker’s last symphony. His Fifth Symphony was commissioned by
the BBC to mark the 25th anniversary of the Royal Festival Hall and the commission specified a
work of no more than twenty minutes – a requirement that Fricker met with some forty seconds
to spare. He decided to make use of the large organ in the RFH, which he himself had played in
the past. This recording of the Fifth Symphony preserves the work’s first performance. Paul Conway
describes the work, aptly, as “terse and direct”. The intention was not to write a quasi-concerto for
organ and orchestra and so while the organ is very prominent at times elsewhere it is either silent
or used to give an added dimension to the orchestral textures. As with The Vision of Judgement
a large orchestra is specified and Fricker’s scoring is consistently interesting, not least the
significant amount of powerful writing for brass and the colourful use made of the percussion
battery."
Musicweb





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No.946
Modern: Avantgarde

A momentous release, as Ludovic Morlot and The Seattle Symphony follow their
acclaimed recording of Ives� Symphony No.2 with the next installment that includes four
of the composer�s greatest works. The rarely recorded Symphony No.4 is a haunting summation
of American musical styles, and one of the masterpieces of American music. It receives here a
live performance of staggering authority and eloquence that brings Ives� multi-layered sonic
canvas to new life. Recorded alongside Symphony No.3 and Ives� two most beloved short
orchestral works, this release is engineered to audiophile standards and set to be an
authoritative voice among recordings of Ives� discography.



Music Composed by Charles Edward Ives
Played by The Seattle Symphony
With David Gordon (trumpet)
Conducted by Ludovic Morlot

"Ludovic Morlot and the Seattle Symphony have released a string of impressive albums on their
home label, Seattle Symphony Media, and most of these recordings have included masterpieces of
20th century music. This 2015 album is devoted to the music of Charles Ives, offering a balanced
program of two symphonies and two short orchestral pieces. The challenging Symphony No. 4 is
regarded by some as Ives' definitive masterpiece, and despite its massive forces (which make
performances infrequent) and the complexity of its polymeters, multiple tempos, and dense
textures, it has enjoyed a devoted following since its first complete performance in 1965. In
contrast, the Symphony No. 3, "The Camp Meeting" for chamber orchestra represents Ives at
his most approachable and direct, and the quotations of hymns and the rustic feeling of the
music give this symphony a nostalgic appeal that has endeared it to audiences. Between
these symphonies are two of Ives' most enigmatic but popular pieces, The Unanswered
Question and Central Park in the Dark, and Morlot and his orchestra give their performances
an atmospheric feeling appropriate to their soft dynamics, wispy textures,
and haunting orchestral colors."
All Music





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Thank you for sharing this!

Thank you for these great shares !

Thanks for all the music, wimpel69. It's a great way to discover new works.

No.947
Modern: Tonal

Winner of the coveted 2002 Grawemeyer Award and one of the youngest composers ever
to be awarded the Pulitzer Prize, Aaron Jay Kernis is among the most
distinguished musical figures of his generation. Conceived as a concerto for
toy piano and orchestra, and with touches of Indonesian gamelan, French lyricism
and jazz, Three Flavors appears here in its final version, adapted by soloist
and long-term collaborator Andrew Russo. Commissioned for renowned violinist
James Ehnes, the introspective Two Movements (with Bells) is a memorial
to the composer�s father with echoes of blues singing and improvisatory impetuousness,
while the virtuoso Superstar Etude No.3 is his homage to Gershwin and the blues.



Music Composed by Aaron Jay Kernis
Played by Albany Symphony Orchestra
With Andrew Russo (piano) & James Ehnes (violin)
Conducted by David Alan Miller

"Listeners unfamiliar with Kernis� catalogue will be likely intrigued by his music, presented
courtesy of pianist Andrew Russo and James Ehnes. Accompanied by the players of the
Albany Symphony Orchestra�under the baton of Grammy Award-winning conductor David
Alan Miller�Russo masterfully voices the distinctive mood of each movement in Three Flavors,
the CD�s title track, which was originally scored for toy piano and premiered in 2002. This
aspect of the music�s legacy is evident in the opening Ostinato, as Russo�s piano assumes
the quality of a mechanistic plaything. The composition�s remaining movements evoke both
the lush soundscapes of Ravel and the smoky jazz clubs of young America�an influence
that listeners will find recurs on the CD�s remaining tracks, Two Movements (With Bells)
and Superstar Etude No. 3."
Scene Magazine





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No.948
Late Romantic

For a few years now remarkable cpo rediscoveries have been revealing to the world just how much
important and interesting music Germany�s neighbor to the west has to offer � and not merely in the
field of music of the fifteenth and sixteenth centuries. R�ntgen, van Gilse, and Badings demonstrate
that Dutch music life rose to new greatness at the end of the nineteenth century. Together with
Alfons Diepenbrock, it is above all Johan Wagenaar who has to be regarded as one of the founding
fathers of this rebirth of Dutch music. Wagenaar came from the simplest of family circumstances, but his
immense musicality enabled him to make early progress, with the result that he soon became a sought-
after educator and then the director of the Royal Conservatory in The Hague. Although he was one of
the leading organists and Bach interpreters of his era, his compositional predilection was for the orchestra.
And he was the man for this musical job � as this recording of selected orchestral works by him quite clearly
shows. Whether the captivating swing of the overture to The Taming of the Shrew or the melodiousness
of the Summer of Life fantasy, a work basking in glistening sound and sumptuous melodiousness,
what we have here is absolutely superb late-romantic symphonic music just waiting to be heard.



Music Composed by Johan Wagenaar
Played by the Nordwestdeutsche Philharmonie Herford
Conducted by Antony Hermus

"Johan Wagenaar was a Dutch composer roughly contemporary with Elgar: born in 1862,
he died in 1941. He began his musical career as an organist but quickly became an academic.
He was appointed in 1919 to be the director of the Royal Conservatory in The Hague.

As one might expect, his style is relatively conservative but it is consistently marked by the
most skilled use of the orchestra, with magical pianissimo effects and consistently transparent
textures, perhaps surprising from a musician who started life as an organist. The overture
inspired by Shakespeare�s The Taming of the Shrew, said to be Wagenaar�s most popular
work, is a delightful comedy overture with heavy brass in the central development section
skilfully used and a surging reprise of the main theme led by the violins. The Summer of Life,
described as a �fantasy for orchestra�, is the most substantial piece of the five works on the
disc, exhilarating in its main climax but ending quietly, as most of Wagenaar�s orchestral
works seem to do. Plainly he was not intent on drawing shouts of approval from his
audiences but rather a warm response to the beauty of his orchestral writing.

The Romantic Intermezzo is exactly that, with important oboe solos. The final symphonic
poem, Frithiof�s Sea-Voyage, is much the earliest of the works here but already demonstrates
the composer�s confident handling of the orchestra. It was inspired by a Swedish saga and
after a storm sequence leads to an optimistic close. First-rate recording and splendid playing
by the North West German Philharmonia under Antony Hermus. A welcome disc of music
by a composer almost totally forgotten, at least outside Holland."
Gramophone





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No.949
Modern

Many composers suffer neglect and some are, or become, completely forgotten. Few composers, however,
have been as badly treated as Humphrey Searle. He was born in Oxford on 26th August, 1915, one of
three sons born to Humphrey Frederic, a civil servant, and Charlotte Mathilde May who, although born in
England, had no English blood. Her father was Sir William Schlich, who came from Darmstadt in Germany,
and Lady Schlich was of French, Belgian and Italian descent. Humphrey�s paternal grandfather trained as
an organist and was part of a musical family that lived in Devon.

If interest in music germinated in 1928, then it blossomed six years later when Searle heard the first English
performance of Berg�s Wozzeck under Sir Adrian Boult, broadcast in March, 1934. "It knocked me sideways,"
admitted Searle, who, consequently, put his energies into finding out about the serial style of composition as
advocated by Arnold Sch�nberg, the leader of the Second Viennese School, which included Webern and
Berg, two of Sch�nberg�s distinguished pupils. Today, there is no doubt about the eminence of Berg�s incredible
score but it says a very great deal for Searle that he recognized its greatness at once.

It was in Scotland that he composed the first work of his to bear an opus number � the
Suite No.1 for string orchestra, which he acknowledged to be the first work of his maturity.
It was first performed in London in 1943 and conducted by Walter Goehr. The composer admitted that
the work owes something to Bart�k. This was followed by Night Music, op.2, for chamber orchestra,
written in honour of Webern�s 60th birthday, a work of great character and lucidity.

Symphony No.1, op.23 is a milestone in the history of music, as it was the first strictly serial symphony
written by a British composer. The 12-note row consists really of only four notes, the musical notes for
B-A-C-H, which four notes are transposed twice to constitute the twelve and, for a work that lasts
about 25 minutes, that amounts to an amazing feat of concentration. A slow introduction leads into
an Allegro of exhilarating power. The slow movement is beautiful and has a central section of concertante
proportions with difficult passage work for the strings and reckless brass writing. In fact, one
B.B.C. orchestra threatened to �go on strike� if plans to perform this Symphony went ahead,
complaining that it was impossible to play. The Adagio is followed by an Intermezzo that leads
into another Allegro of ferocity and rhythmic drive before a quiet epilogue in which B-A-C-H
has the last word. This Symphony is both romantic and dramatic, perhaps even terrifying.

The Symphony No.4 was commissioned by the Feeney Trust for the City of Birmingham Symphony
Orchestra. It marks a new departure for Searle, albeit a temporary one, for in this work a more fragmentary
style appears and for the only time in his output there is a brief aleatory section. The music is uncompromisingly
tough and a �graveyard� for all but the genuinely competent conductor. This may explain why only the composer
has conducted it.



Music Composed by Humphrey Searle
Played by the BBC Scottish Symphony Orchestra
Conducted by Alun Francis

"Even more than its companion disc of the Second, Third and Fifth Symphonies (2/97) this gives
an admirable indication of the sheer variety that lies behind the off-putting label that Humphrey
Searle has acquired in many people�s minds: �atonal Cheltenham symphonist�. Night Music, dating
from his twenties, is an uncommonly assured and accomplished Op. 2, and despite its battery of
learned contrapuntal devices, a very likeable one. Its processes are clearly audible � even someone
with a marked aversion both to counterpoint and atonality would realize that its opening is a canon
by inversion, would recognize recurrences of that lyrical material and quite possibly be entertained
by the almost perky ideas that are contrasted with it. The First Symphony, commissioned by
Hermann Scherchen, is much grimmer, and powerfully dramatic: it was written in 1952-3 when
not only Searle expected a Third World War to be not far off. Its predominant mood is sombre,
with an anxious lyricism that rises to great eloquence in the second movement. The third
incorporates an extremely ingenious quasi-fugato, the strings, woodwind and brass given related
material but moving at different tempos. The finale is a brilliant evocation of violent aggression,
declining to a subdued reference to the B-A-C-H motif upon which the entire work is based.

The Fourth is a great contrast, perhaps Searle�s most austere and elusive work, its first
movement a set of variations not so much on a theme as a cluster of fragments, its Lento
an icy terrain of isolated sonorities, two-note chords or even single notes. The skeletal,
explosive finale reaches a huge, semi-improvised climax, which parts to reveal shining,
quiet strings that are then brutally snuffed out by a crash like an executioner�s axe.
Even if you can�t quite follow every stage of its severe logic � I�m still working on it �
it is a formidably gripping piece. And Overture to a Drama is an exciting, eventful one,
an almost atonal (there is a single, splendid chord of C major) but lucid sonata movement
culminating in a simultaneous recapitulation of its two main ideas. Admirable performances,
finely recorded.'"
Gramophone





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Link received !!!

Many thanks, dear wimpel69, for such a wonderful collection of Great and Beautiful music you share with us !!!

:) :) :)

Thank you for sharing this! The local library system where I live has very little in the way of classical music, your postings have made it possible to hear such wonderful music!

No.950
Modern: Americana

Under Western Skies, the exciting new recording from the Grand Valley State University
Symphonic Wind Ensemble, contains five premiere recordings. Composers featured on this release
include Kevin McKee, Eric Ewazen, Erik Morales, James Stephenson, and Brendan Collins.
The Grand Valley State University Symphonic Wind Ensemble is under the direction of Kevin Tutt.
Colonel Lowell Graham is the guest conductor for this recording.



Music by Kevin McKee, Eric Ewazen, Erik Morales, James Stephenson & Brendan Collins
Played by the Grand Valley State University Symphonic Wind Ensemble
With Richard Stoelzel (trumpet) & Rex Richardson (trumpet)
Conducted by Lowell Graham & Kevin Tutt

"When New Mexico trumpeter John Marchinado contacted me about writing a duo trumpet/piano piece,
my immediate thought was to do something with a western flavor. Before, and often during, my writing
of this piece I poured over photographs of New Mexico’s high desert areas, many that really embody
the classic notion we have of “the west” (see below). The first movement, Sundown, attempts to
accompany a classic western sunset. The second movement, Sunup-High Noon, opens with muted
trumpets heralding the morning light. Before long we’re off on the days adventure. The urgency
of the mornings ride eventually slows as we ride into a ghost town and hear 12 ominous bell tolls
signaling High Noon. The trumpets begin a duel in what is a tip of the hat to western master
Ennio Morricone. After reaching it’s climax we’re off again to the rousing conclusion.

A big thanks to John and Brynn Marchinado for commissioning this work in it's original form for
2 trumpets and piano and to Richard Stoelzel for commissioning the adaptation for 2 trumpets
and wind ensemble."
Kevin McKee



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No.951
Late Romantic

Charles Tournemire was born in Bordeaux in 1870 and died at Arcachon in 1939. For some he may
seem to have been a slightly mysterious organist with a reputation for improvisation, yet this master of
modern organ music was at the same time a powerful symphonist. Between 1900 and 1924 Tournemire
wrote no less than eight symphonies differing in dimension and form, without counting the Po�me pour
orgue of 1910 and various compositions for chorus and orchestra. As he himself made clear, these eight
symphonies were only the preparation for an enterprise of greater scope still, conceived for that other
orchestra, the organ.

Tournemire's Second Symphony "Ouessant" in B flat major, Opus 36, begun in 1908 and completed
in February 1909, may be considered as marking the start of the composer's symphonic cycle in the
spiritual perspective described above. Eight years separate this from the First Symphony, Opus 18, a
period during which Tournemire's orchestral technique had developed. The Second Symphony may thus
sometimes appear dense in texture and there may be detected in the use of lower woodwind, a high-pitched
trumpet and two off-stage French horns in addition to the four horns in the orchestra, the influence of
Richard Strauss, who had conducted his own music in Paris during the first decade of the century.
Furthermore it may be added that the first performance of Debussy's La mer in 1905 had opened new
perspectives for symphonic music. The Second Symphony echoes, moreover, the spirit of popular song
and the writing is marked by chromaticism that gives several of its episodes a tormented expression.
The thematic material seems to suggest the jagged outline of the rocks of Ouessant, constantly
beaten by the waves, an impression accentuated by clear-cut rhythms, variations in the density of
the polyphony and in dynamics and the occasionally violent contrasts of sonority that mark the work.

Brittany was once more the source of inspiration of the Fourth Symphony, "Pages symphoniques",
Opus 44. This was written and orchestrated quickly by Tournemire in the summer of 1912, near Perros-
Guirec, since the surviving sketches date from 6th July, with the piano reduction of the orchestral score
carrying the dates 15th July - 12th September 1912. Of all the symphonies of Tournemire the Fourth,
which has also been given the subtitle Symphonietta, is, from a formal point of view, the freest. This is
perhaps due to the fact that, unlike the other symphonies, it appears as a pure work of music, with
five movements that have no reference to any literary or precise philosophical argument. The composer
is content simply to indicate that the work "exalts the poetry of Brittany". The thematic structure is
more diversified, the cyclical procedure applied with more flexibility in a sound context of less dramatic
tension. The orchestration, with its use of solo instruments, particularly in the lower woodwind, and
its remarkable use of the harps, brings several surprises, not least the presence of the organ in the
central movement of the score.



Music Composed by Charles Tournemire
Played by the Moscow Symphony Orchestra
Conducted by Antonio de Almeida





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No.465

This is an album that lovers of fantasy film scores should appreciate!

With The Snow Queen (Lumikuningatar), the Finnish National Ballet scored a hit. This success was
due not only to Andersen's wonderful story and its brilliant staging but also to the music of composer
Tuomas Kantelinen. He says he wanted "to write music that is melodic, beautiful and accessible, as
its principal function is to put viewers of all ages into a cheerful Christmas mood. It is a deliberate nod
towards the tradition of Christmas ballets for the whole family, such as Nutcracker. I had a great deal of fun
creating character dance pastiches that illustrate the conceptions that people have of the musical styles of
various countries." The principal characters are Kerttu and Kai, who are good friends. Kerttu finds the
missing piece of the Snow Queen's mirror, and the Snow Queen kidnaps Kai to get it back. Kerttu wanders
far and yonder in search of Kai and finally ends up at the frozen castle of the Snow Queen.

Finland's internationally most successful movie music composer Tuomas Kantelinen has written the music
for more than 30 films since the mid-1990s, including Puhdistus (Purge, directed by Antti Jokinen),
�ideist� parhain (Mother of Mine, Klaus H�r�), Mindhunters (Renny Harlin) and Mongol (Serge Bodrov).
Kantelinen has received several awards at home and abroad for his film scores, including the Finnish
Jussi Award for Lunastus (The Redemption, 1997) and Rukaj�rven tie (Ambush, 1999).



Music Composed and Conducted by Tuomas Kantelinen
Played by the Finnish National Opera Orchestra

"The Snow Queen (Danish: Snedronningen) is a fairy tale by Hans Christian Andersen (1805�1875).
The tale was first published in 1845, and centers on the struggle between good and evil as experienced
by a little boy and girl, Kai and Gerda. The story is one of Andersen's longest, and one of his most highly
acclaimed stories by readers and critics. It is regularly included in selected tales and collections of his
work and is frequently reprinted in illustrated storybook editions for children. The tale has been
adapted in various media including Disney's most-recent animated film and television drama."





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This post dates back more than 3 years, and as one who was late to the show, I was only able to get the mp3 version. No matter. I am excited about this and I want to recommend it to anyone who missed it or chose not to listen to it. In a word, it is a "score". It sounds like a movie score written by John Debney with echoes of John Williams and Alexandre Desplats. It is an exhilarating and wonderful ballet score and I recommend it to anyone who enjoys melody.

Thank you wimpel69 for exposing me to such a joy. Can I convince you to repost the flac version 😋

Many thanks

No.952
Modern: Tonal

If you define classical music as Western-styled concert music, then you can count the number of great Turkish
classical music composers on one hand. Turkey already has, selecting five of its pioneering figures from the early
twentieth century as "The Turkish Five," and the most prominent among these names is that of Ahmed Adnan Saygun.
At the request of Atat�rk, Saygun composed the first Turkish opera, �zsoy, in 1934; one critic noted that Saygun
"was to his country what Jean Sibelius is to Finland." Early in his career, Saygun was noted for his command of the
neo-classical idiom, but by the time Saygun got around to composing his Symphony No.1 in 1953, Saygun
had darkened it a bit; while there are still traces of Prokofiev's influence, Saygun's contact with B�la Bart�k made
a huge impression on him.



Music Composed by Ahmed Adnan Saygun
Played by the Northern Sinfonia of England
Conducted by Howard Griffiths

"Ahmed Adnan Saygun (1907-91) wasn�t only Turkey�s preeminent composer of �classical�
music; he was a major figure in 20th century music, period. Unfortunately, his works have yet to
achieve wide international exposure, save perhaps for the very occasional performance of his
oratorio Yunus Emre. But as this disc convincingly proves, Saygun was a master of neo-classical
form and was a superb writer for orchestra, especially the chamber or string orchestras employed
in these two works. His First Symphony (there are five in all), scored for a classical-period-sized
band, applies a Western-derived formal rigor to folk-influenced thematic material. Its Turkish
aspects are recognizable in places such as the second subject of the first movement, where exotic
arabesques are woven around a single note. The birdsong trio of the suavely elegant minuet
offers another particularly captivating moment. Elsewhere, the style most closely recalls the
Villa-Lobos of the Bachianas Brasileiras, particularly in Saygun�s deployment of massed winds
against the strings. The Concerto da Camera shows similarly resourceful use of a string ensemble
with soloists, in Baroque concerto grosso style.

Howard Griffiths and the Northern Sinfonia provide vigorous, refreshing performances of both
works, with some very fine horn playing in the symphony, and they�re beautifully recorded too.
Sadly, the disc offers rather short measure: there certainly was room for another major work,
and given the paucity of Saygun available (his stunning Viola Concerto is also on Koch, strangely
coupled to Elgar�s In the South), it would have been great to have more. Ah well, beggars
can�t be choosers."
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No.953
Modern: Tonal

Richard Arnell's war-time Symphony No.3 (he composed his first four symphonies within a brief space
of just of a few years) is a work of Brucknerian dimensions - spanning more than 60 minutes, in six movements -
though of course, thankfully, it is much more advanced in style. Looking back over the other Arnell releases
by Dutton, it is possibly the most important of his works - which is why the company opened its Arnell
cycle with this particular release.

Also included is the earlier concert overture The New Age - in and of itself a worthy piece. Performances
by Martin Yates and the versatile Royal Scottish National Orchestra are everything we could have hoped for.



Music Composed by Richard Arnell
Played by the Royal Scottish National Orchestra
Conducted by Martin Yates

"This is the first CD ever devoted to Richard Arnell�s orchestral music. Dutton have tackled the challenge
head-on with a truly epic symphony of a scale similar to that of the recently released Tovey Symphony (Toccata -
review). This is however in a style quite different from the Tovey: a massive six movement wartime symphony.
As such it can be loosely grouped with other British symphonies of that time: Hubert Clifford, Arthur Benjamin,
RVW6 and Stanley Bate 3; how long before this is recorded! It is a resoundingly confident piece of work rejoicing
in turbulence and alive with voices some of which pre-date the work and some of which were yet to come. Who
knows how many of the pre-date 'voices' had actually been heard by Arnell. In a way it hardly matters but to
help those unfamiliar with the work and considering whether or not to buy let me mention a few. Nielsen is
certainly one voice: especially in the Fifth Symphony. Sibelius may also be heard as an influence especially in
the creeping manic writing for rustling strings. Other voices include Bax (slightly - from the Fifth Symphony),
Alwyn (symphonies 1 and 4), Lilburn and Randall Thompson. The impressively tension-inducing first movement
is remarkable for its gaunt jagged trumpet fanfares and superb contrasts between dynamics and the extremes
of the scale - some wonderful tangy deep bass work for the contrabassoon. Both the Presto and the Finale
recall in their stomping energy - part de Falla and part Shostakovich - the spectacular finale of Arnell�s Fifth
Symphony and also of Alwyn�s Fourth - lying way in the future. The Fifth was wonderfully put across by
John Carewe conducting the BBC NSO on 1 July 1977. Time and again the Third rises to vital and noble heights.
The brief andante maestoso introduction to the Allegro finale sings in the 1940s manner of William Schuman
but also with the epic spirit of Vaughan Williams� Sinfonia Antartica. That final allegro is also suffused with
the wartime ruggedness of Copland Symphony No. 3. The RSNO sound glorious especially their impressive
brass section.

The Arnell Third Symphony was written in New York where the composer had been stranded by the onset
of the Second World War. I sincerely hope that with the verve and no holds barred commitment brought to
this work by Martin Yates and the RSNO that they will soon tackle the remaining Arnell symphonies; the
Fifth next please. The Third really is a most impressive work of epic symphonic weight, circumstance and
moment. If you doubt me try the last five minutes of the finale.

The New Age overture is from the year in which the war started, a war that was to result in the death of
Arnell�s mother in the London Blitz in 1942. It is a peppy affair with some gaunt overtones typical of the
times including his trademark thunderously brassy stomping and a proclivity for the artful and provocative
building of tension and anxiety. This and no doubt other Arnell overtures could share concert overture
programmes with Copland�s Outdoor Overture, Diamond�s Tempest overture and Schuman�s American
Festival just as easily as they could with Rawsthorne�s Street Corner and Cortège, Moeran�s Overture
to a Masque, Alwyn�s Derby Day, Geoffrey Bush�s Yorick and Ferguson�s Overture to an Occasion.

These two works promise and deliver much. I am quite sure there are yet more discoveries aplenty to
be made in the Arnell catalogue."
Musicweb





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No.954
Modern: Tonal

Superbly crafted and convincingly modern, though imbued with an expressivity most modern composers
would have abjured, the Fourth and Fifth Symphonies of English composer Richard Arnell
arguably deserve to be heard as often as the symphonies of his contemporaries Alwyn and Arnold. In this
superlative coupling of his Fourth Symphony from 1948 and his Fifth Symphony from 1957,
Arnell emerges as a cogent composer who sets out to achieve great things and accomplishes them with
style and panache. The three-movement Fourth is big, brawny, and intensely dramatic without
succumbing to histrionics, while the three-movement Fifth is even bigger and more dramatic, but
with a warm tone and a sunny optimism in the finale that make it potentially Arnell's most popular
symphony were it to be heard by a larger audience.



Music Composed by Richard Arnell
Played by the Royal Scottish National Orchestra
Conducted by Martin Yates

"Arnell's Fourth Symphony started life during his New York wartime exile but was finished
in London in 1948. While shorter than the monumental Shostakovich-indebted Third it has
the gritty determination of that composer though the style is Arnell's alone. The work is
dedicated to the conductor Leon Barzin who was one of Arnell's supporters in the USA. In
fact Barzin gave the premiere with the NYPO in 1949. Once again it is clear that Arnell
sees the symphony as a vehicle for the expression of great emotions and traumas. There
is some pawky humour, often from the bassoon (as in the Second Symphony), but the
passion of this work is in its laying bare of tragedy and heroism. Not perhaps as brassy
as Boris Tchaikovsky's First, it certainly tracks territory similar to the Alwyn Fourth Symphony.

The Fifth Symphony - there are six in total of which Dutton have so far issued four - is
not without tension. This time the accent is on a haunting and regal celebratory mood.
As Lewis Foreman points out, the Fifth is perhaps Arnell's most approachable and potentially
popular symphony. It was completed in 1957 and the formal premiere with corrections was
given by the composer conducting the RPO in London on 22 March 1966. I came to know
it through the BBC broadcast in 1977 by the BBCNSO conducted by John Carewe. It is
dedicated to the composer's father whose predilection for the music-hall song Dear Old
Pals, Jolly Old Pals is honoured by a quote in the middle and final movements. The music
differs in heat and temperament from the Second, Third and Fourth symphonies. This
does not mean that there are not some witheringly Shostakovich-like passages in the
first movement because there are."
Musicweb





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Thank you for sharing these!

Nice series, many thanks wimpel69.

No.955
Neo-/Late Romantic

Thomas Dunhill's Symphony in A minor (his only contribution to the genre) and Richard Arnell's symphonic portrait
of Lord Byron are coupled on this enterprising Dutton Epoch release. However, there is no connection between the two works,
or the two composers, other than that they're both British.

Dunhill was a minor composer of light music, especially in the latter half of his career. Before 1920, he did write a number
of serious classical works though, including several operas. The symphony recorded here was written during the First World War,
but the shadow of Brahms is still looming large over this work, which has some good melodies, is well-constructed (if a bit long) and certainly
not without gravitas (note the brass chorale towards the end of the first movement). Dunhill was a pupil of Charles Stanford's,
and had the symphony been labeled as the older composer's eighth, I would have believed that, too.

Arnell composed his portrait of Byron on commission of Thomas Beecham and the Royal Philharmonic Society in 1951/52.
The musical language is of course advanced in contrast to Dunhill's symphony, but it's still neo-romnatic and, frankly,
rather conservative when compared even to Arnell's own other works released so far on the Dutton label. It is cast
in eight programmatic sections that play continuously; thus, it might be compared to Elgar's Falstaff.



Music by Thomas F. Dunhill & Richard Arnell
Played by the Royal Scottish National Orchestra
Conducted by Martin Yates

"This is Dutton's second disc featuring music by Thomas Dunhill, and the fourth featuring music by
Richard Arnell. In 2005, the enterprising English label had released a disc of Dunhill's chamber music
by the Endymion Ensemble containing two quintets and a Phantasy Trio. But as lovely and imaginative
as those works are, they pale before this discs' magnificent Symphony in A minor. Written between
1914 and 1916, it was one of a handful of symphonies composed by the Englishman during the First
World War, and though the horrors of those dreadful years are only distantly reflected in its music,
there is a power, a weight, and even a nobility to Dunhill's Symphony that raises it to nearly the
same heights as Elgar's symphonies. The work was premiered in 1923 and performed more than
five times between then and 1935 -- but after that remained unknown and unheard until the occasion
of this world-premiere 2007 recording with Martin Yates leading the Royal Scottish National Orchestra.
While 72 years is a long time to wait for revival, Dunhill's Symphony was well worth it. With its
romantically charged Moderato, its racing Prestissimo, its haunted Adagio non troppo, and its almost
tragic closing Allegro, the work proves a sincere, expressive, and exceedingly well-wrought work.
In Yates and the Scottish players' passionate and polished performance, it should be thoroughly
enjoyable for anyone who enjoys the symphonies of Parry, Stanford, and Elgar.

Already represented in the Dutton catalog by four symphonies, an overture, a concerto, and a
disc of chamber works, Richard Arnell returns with his 1952 Lord Byron: A Symphonic Portrait.
A rousing, even exciting work with big themes, bold orchestrations, and immediately attractive
forms, Lord Byron adds a new dimension to Arnell's musical character -- an evocative, lyrical,
even sensual, and above all pictorial dimension that no doubt informed his highly successful
(at least in their time) ballet scores."
All Music





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No.956
Late Romantic

Edward German was certainly dissatisfied with his reputation as a composer of light, frothy musical
entertainments - and thus he strove to be a recognized voice in concert music, too.
And for a time he was, until composers of greater originality (if not necessarily better
craftsmanship) swept his music, and that of many of his contemporaries, aside.

German's Symphony No.2 ("The Norwich") is a big improvement on his first: Tighter structure,
more forceful musical argument, more memorable themes - it really is a very persuasive late
romantic symphony, and if you like Brahms, you should try it. Also included in this very generous
program are the substantial suite "The Leeds" and a March Rhapsody.

The performances are very good, with Wilson's version of The Norwich being a little more
"driven" and powerful than Andrew Penny's on Marco Polo. Great sound, too.



Music Composed by Edward German
Played by the BBC Concert Orchestra
Conducted by John Wilson

"There were three distinct phases to Edward German's career. Between 1889 and 1899, he was a composer
of concert music with suites, overtures, and a pair of symphonies to his credit. Between 1900 and 1909,
he was a composer of theater music with several light operas to his credit. Between 1910 and his death
in 1936, he was a composer of almost no music with only two slight works to his credit. This disc,
containing his March Rhapsody on Original Themes, Symphonic Suite in D minor, and Symphony No. 2
in A minor, is entirely devoted to German's first period. Performed with authority and sincerity by the
BBC Concert Orchestra under conductor John Wilson, these works prove completely charming if not
especially arresting. German is a skilled orchestrator and a talented composer of ingratiating tunes
set to conservative harmonies and bouncy rhythms. This approach works better in the March Rhapsody
and the suite where German's good tunes count for a lot than in the symphony where German's
tendency toward bombast and his lack of mastery of the larger forms is all too apparent. Still, listeners
who want to know what English music was like before Stanford, Parry, and Elgar
will perforce seek out German."
All Music





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No.957
Late Romantic/Neo Romantic

Dutton Epoch's recording sessions with the Royal Scottish National Orchestra in the summer of 2008
yielded two fascinating programmes. Most intriguing is a collection of all John Ireland's shorter pieces, mainly
orchestrations by other hands, including Merry Andrew, Bagatelle, Cavatina, The Holy Boy, Elegiac Meditation,
Villanella and Menuetto-Impromptu, only one of which has been previously recorded. These delightful
miniatures are coupled with Ireland 's pupil Peter Crossley-Holland's epic Symphony in D, a tuneful
and tonal masterpiece of wide appeal. Crossley-Holland, for a long time associated with the BBC Third Programme,
was also an ethnomusicologist and is wide-ranging in the sources he has absorbed in the Symphony.



Music by Peter Crossley-Holland, Eugene Goossens & John Ireland
Played by the Royal Scottish National Orchestra
Conducted by Martin Yates

"Peter Crossley-Holland (1906�2001) completed his Symphony in 1994, but it could almost be 70 years
older. The four movements were assembled in part from works written in the previous few years, and they
carry titles that imply a kind of spiritual, mystical journey. There are several whiffs of Hovhaness, and a
couple of glimpses of Martin?, but Vaughan-Williams and the English schools are close by. Crossley-Holland
was an interesting figure, working largely in ethnomusicology, and teaching at UCLA, before winding up in
Wales, where he wrote this music. The Symphony plays for 37 minutes, and manages to be clearly British
without being parochial. If you admire the composers mentioned above, then this piece will also join your
favorites. The first movement, �Vision� is probably the best, but there�s a lively Scherzo, and a long finale,
�Offering,� that leads to a peaceful conclusion. I don�t hear it as a symphony in the sense of cogent
argument, but the meandering movements do seem to belong together, thanks to the consistent mood.
There are sections of real beauty in the quieter parts, as the modal fragments generate open harmonies
in the strings and brass. Not a masterpiece, but a welcome discovery, if this is your thing.

The brief Goossens-orchestrated piece includes variations by Ireland, Bax, and Bridge, as well as
one by Goossens himself. It�s no earth shaker, but it�s an interesting curiosity. The other half of the CD
is given over to various arrangements of instrumental works by John Ireland. In their way, and if to
your taste, these pieces are as attractive as a similar program of Elgar salon pieces. Out of them, only
the late Elegaic Meditation (which sounds like Finzi) has been recorded before in orchestral form.
The Holy Boy is easily the most memorable thing here, originally for piano, then for strings, and
heard here in a fine Christopher Palmer rearrangement for violin and string orchestra. It works
very well, with a sincere and heartfelt melodic line, and it�s Ireland�s most convincing miniature
moment."
Fanfare





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---------- Post added at 02:18 PM ---------- Previous post was at 01:30 PM ----------




No.958
Modern: Tonal

Richard Arnell's first symphonic outing was originally to be titled "Chamber Symphony", an irritating title
considering the fact that regular orchestral forces are employed. What this was supposed to mean,
however, was that Symphony No.1 is a neo-classical symphony in style, and thus should have been labeled
"Classical Symphony" or "Symphonie classique". It is a bright, clean-cut four movement piece.

In contrast to the 27 minute duration of the first, the mere 13 1/2 of Symphony No.6 of 1994
seem to indicate a lack of material in the latter. This, however, is not the case: The symphony is
just that more tightly argued - and although it is more advanced harmonically, it is still firmly
tonal - indicating that Arnell refused to cater to contemporary critical taste right up to the end of
his career.

The Sinfonia quasi Variazioni was composed during Arnell's stay in the USA in 1941.
It is again characterized by a crisp structure, clean lines and a penchant for punchy rhythms.
All three works are superbly performed, and if we never get any competitive recordings of either
we'll still be fine.



Music Composed by Richard Arnell
Played by the Royal Scottish National Orchestra
Conducted by Martin Yates

"The revival of tonality has brought out of the woodwork a great many tonal orchestral works
from the middle of the twentieth century. Britain had no shortage of these, and their composers
each have their partisans. One of Richard Arnell's is conductor Martin Yates, who has committed
a number of them to disc with the Royal Scottish National Orchestra, which, it must be said,
delivers fine, assertive performances. Arnell fell somewhat out of favor after 1950, and the
weak points in his music may be inferred from the fact that John Barbirolli demanded cuts in
one of his symphonies (not one of those performed here). But he kept composing prolifically,
and the Symphony No. 6, "The Anvil," heard here dates from as late as 1994. It takes its
name from a bona fide anvil that is sounded at the beginning of the introductory movement.
Arnell continues to use a tonal idiom, but the work's textures, making varied use of a piano,
are unusual, and the piece is refreshingly unusual in style. The point of its literary epigrams,
however -- one of them is the question-and-answer "Must it be? Yes, it must!" from
Beethoven's String Quartet No. 16 in F major, Op. 135 -- is not clear. The earlier works
date from the composer's sojourn in New York during World War II; he came to the U.S.
to see the 1939 World's Fair and was stranded by the outbreak of World War II. In the
Sinfonia quasi variazioni, Op. 13 (the title refers to the loosely cyclical construction of the
work's five short movements), Arnell begins with a Sibelius-like idiom (he favors long,
brass-driven gestures) and spices it with a bit of Copland, boiling the whole thing down
to concise dimensions. It's an attractive combination, and it holds the listener's interest
more successfully than the work Arnell favored with designation as his official Symphony No.1.
The first two movements of this work may be slow going, but the release will be of interest
for aficionados of the British symphony."
All Music



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No.959
Modern: Tonal

David Matthews's (*1943) symphonies crown a wonderful catalogue of orchestral music that
is widely recognised, but until now they were unrecorded. The first volume of Dutton Epoch's David
Matthews Symphony cycle is powerfully presented by the BBC National Orchestra of Wales conducted
by Martyn Brabbins. The orchestra responds strongly to Brabbins's eloquent readings of music that is
at once brilliant and powerfully expressive.



Music Composed by David Matthews
Played by the BBC National Orchestra of Wales
Conducted by Martyn Brabbis

"David Matthews' modernistic compositional language is distinct from that of his brother Colin,
whose music runs more toward the impressionistic side of the scale. This rough distinction is
reinforced by his first and second symphonies as heard here (written in 1975 and 1985,
respectively); both are tough, rhetorically vigorous works. His Fifth Symphony of 1999 is more
immediately attractive in form and expression, but it coheres with its earlier siblings by speaking
through an edgy but comprehensibly tonal harmonic language. Martyn Brabbins and the
BBC National Orchestra of Wales turn in well-polished performances. In the piercing trumpets
at the end of the First, the strenuous string fugato at the opening of the Second, and the
expressive lines at the core of the Third's Adagio, Brabbins and the Welsh musicians appear
passionately dedicated to giving Matthews' music the most persuasive possible performances.
Recorded in cool, blended digital sound by Dutton, this disc will appeal more to listeners who
favor the Walton/Britten line of modernists than to those who prefer the Vaughan Williams/
Moeran line, but they will all be heartened to hear such outstanding contributions to
English music."
All Music





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No.960
Late Romantic/Impressionism

Composed in 1888 at the tail-end of Frederick Delius�s Leipzig sojourn, the tone-poem Hiawatha
remained incomplete (the composer having excised two large chunks from the manuscript) and unheard until
the Delius Trust invited Robert Threlfall to produce a performing version. It�s a charming discovery, its wholly
disarming lyricism and fragrant poetry bringing irresistible echoes of the captivating Florida Suite completed
the previous year. It�s also fascinating to encounter an idea (the oboe�s winsome second subject, conceivably
representing Minnehaha) that Delius would later flesh out to even more potently expressive effect in his 1899
nocturne Paris.

Four concertante offerings make up the remainder. Both the Suite for Violin and Orchestra (dating
from the same year as Hiawatha) and L�gende (1895) will already be familiar to long-standing
enthusiasts from Ralph Holmes�s pioneering recordings from 1984 with Vernon Handley and the RPO.
Lionel Tertis�s reworkings for viola suit the shadowy Caprice and Elegy (written in 1930 for Beatrice
Harrison) more than the masterly Double Concerto (conceived, again, for Beatrice and her sister May),
where there�s rather less sense of soloistic interplay and fruitful dialogue than otherwise noted.



Music Composed by Frederick Delius
Played by the BBC Concert Orchestra
With Philippe Graffin (violin) & Sarah-Jane Bradley (viola)
Conducted by David Lloyd-Jones

"It was Samuel Coleridge-Taylor who really gripped the public�s imagination with his
Hiawatha cantatas, written at the turn of the 19th century and a staple of the London
musical landscape until the outbreak of the Second World War. But Delius had been
inspired by Longfellow�s verse epic even earlier, composing his Hiawatha tone poem in
1888. This is its debut on disc. Delius removed some pages from the manuscript,
which rendered it unplayable until Robert Threlfall cunningly filled in the gaps using
Delius�s own material.

It makes for a luminous musical image of the poem, less robust than Coleridge-Taylor�s
cantatas but imbued with rippling sounds of nature, graced with passionate themes
and orchestrated with lustre. The other rarities here, all performed with sensitivity
by the BBC CO under David Lloyd-Jones, will be welcomed by Delius�s admirers,
particularly, perhaps, the Double Concerto in the version for violin and viola, in
which Philippe Graffin and Sarah-Jane Bradley are ardent, affecting soloists."
The Telegraph





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What a flow of rarities, this makes me speechless. Endless thanks wimpel69.

I'm currently browsing through my Dutton library to fill up the blanks here.
Some of those rips I made 5-6 years ago when I didn't care about keeping the
albums scans (which I made for another forum), so often there's only small covers.


No.961
Modern: Tonal

This Dutton release featuring David Matthews' Second and Sixth symphonies.
It shows that the stylistic distance between Matthews' earlier and later symphonies is as great as the chronological
difference. The Second Symphony, written between 1976 and 1979, is in four tough and uncompromising
movements with strong contrasts, stark colors, acerbic harmonies, driving tempos, and plentiful assaultive percussion
instruments. The Sixth, written between 2003 and 2007, is a much more approachable work in three
movements with smoother transitions, blended colors, more consonant harmonies, calmer tempos, and a multitude
of mellower percussion instruments. Matthews is traditional composer in that he writes music in the traditional
forms with the traditional goal of communicating with his listeners. Fans of Boulez and Nono may find his music
old-fashioned, but some listeners are likely to find it too challenging to be enjoyed without a great deal of effort.



Music Composed by David Matthews
Played by the BBC National Orchestra of Wales
Conducted by Jac van Steen

"David Matthews is the quintessential English composer: somewhat earnest on the surface,
but stubbornly nonconformist underneath. His severe counterpoint has surprising moments
of glittery modernist percussion, but is just as likely to blossom into English pastoral ecstasy.
The mix doesn�t always cohere, particularly when Matthews saddles himself with an over-
schematised form � as he does in the Second Symphony, which appears on the latest release
of Dutton�s complete recording of the symphonies. The performers work hard to clarify the
dense textures, and they play the intense white-hot ending as if their lives depended on it.
But the good intentions impress more than the result. The Sixth Symphony, which gradually
unfolds Vaughan Williams�s sublime hymn Down Ampney, is much more rewarding. It�s
worth having the CD just for the symphony�s close, when the hymn stands revealed
in all its loveliness."
The Telegraph





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No.962
Late Romantic/Modern: Tonal

How often does it happen to a dedicated collector these days that he picks up an album where
all the composers' names are familiar - yet he or she hasn't heard of any of the pieces recorded - ever?
Not very often, i.e.

Well, how about this collection of "marginalia" by Ralph Vaughan Williams, William Alwyn,
York Bowen and Hubert Parry? Up until twenty years ago any of these names would have
been regarded as unknown, forgotten or neglected. But in the last couple of decades, nigh each and every
work by these gentlemen has enjoyed at least one new recording. Or so it seemed.

Vaughan Williams' Heroic Elegy and Triumphal Epilogue of 1901/02 is still far removed from his
mature pieces, even from the "infancy" of his own style as evidenced by his 1904 In the Fen Country. Here is
a composer trying out different modes in order to find anything new in them. Still, the 20-minute piece,
premiered by his teacher Charles Villiers Stanford, is a substantial effort - so substantial that Stanford told
RVW's fellow student John Ireland that he himself would not be capable of producing anything of similar quality.

The young William Alwyn is represented by a selection of four works, one of them from his "maturity", the
1946 Overture in the Form of a Serenade (with soprano and choir), which cheerfully quotes from both
Gustav Holst and Vaughan Williams. The remaining pieces are from his late tens and early twenties.

Hubert Parry wrote incidental music to the play Hypatia by Charles Kingsley, a then hugely popular but long since
forgotten slice of Victorian theater. The pieces are suitably festive and lyrical by turns, with a light march completing the selection.



Music by Ralph Vaughan Williams, William Alwyn, York Bowen & Hubert Parry
Played by the BBC Concert Orchestra
With Roderick Elms (organ) & Micaela Haslam (soprano)
And The London Chorus
Conducted by John Wilson

"Here’s a fascinating haul of long-buried British rarities, all performed with exemplary dedication by the
BBC Concert Orchestra under John Wilson’s clear-headed lead and afforded gloriously ripe, airy sound
from the production team.

It’s hard to believe that a diptych as substantial and nobly eloquent as Vaughan Williams’s Heroic Elegy and
Triumphal Epilogue (originally conceived as the second and third movements of a symphonic rhapsody in
three parts) should have lain unheard for over a century (the 32-year-old composer directed the last known
performance, in Leeds, on January 21, 1905). This is a confidently paced, compassionate and ultimately
stirring 20-minute essay, studded with enthralling glimpses of great achievements to come; the orchestral
writing, too, is already remarkably assured, with some marvellously unclotted brass sonorities in particular.
At the March 1901 RCM premiere of the Heroic Elegy under Stanford, the latter reputedly commented to
his pupil John Ireland: “That’s better than anything you could write, me bhoy.”

A similarly deft touch is evident in every bar of York Bowen’s 1922 orchestral poem Eventide, an ecstatically
lovely and voluptuously scored creation that no admirer of this prolific figure should miss hearing. Bowen’s
own November 1926 performance with the Guildford SO shared the bill with the world premiere of William
Alwyn’s tone-poem Blackdown, one of four early offerings here, all of which demonstrate a budding
orchestral mastery; the 18-year-old’s miniature Peter Pan Suite proves an especially exquisite find.
Designed as a tribute to Holst and VW, Alwyn’s Overture in the Form of a Serenade from 1946 makes
a delightful curtain-raiser, and the programme concludes with three excerpts from Parry’s strongly
communicative and characteristically humane incidental music for Stuart Ogilvie’s adaptation of
Charles Kingsley’s novel Hypatia (first staged in London, on January 2, 1893, at the Theatre Royal
on Haymarket).

Extensive and knowledgeable notes by Andrew Knowles (of the William Alwyn Foundation) and Lewis
Foreman (Dutton’s indefatigable A&R consultant) lend further lustre to an outstanding release that
deserves every success."
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No.963
Late Romantic

19th century American concert music for string orchestra: Victor Herbert wrote shelves-full of music theatre,
but was also an adept of the concert hall. His Serenade for Strings is in five movements. It is delightful and
always light on its toes. It is a little reminiscent of Frank Bridge’s much later Suite for Strings, of the Elgar
Serenade and of the Parry string works. The Arthur Foote Serenade of 1891 has a wider emotional range –
a deeper span of the passions. The serene Bachian second movement is followed by a cheery Grieg-like Intermezzo
rather in the manner of the Holberg Suite. A classically deliberate muscular Gavotte ends the Serenade.

The Foote Suite in E Major was premiered on 16 April 1909 by the Boston Symphony Orchestra conducted
by the very young Arthur Fiedler; has been recorded several times before. It is a fine poignant work with leaping
melodic inspiration and a serious bearing; not that this stops Foote deploying a euphoria-inducing and witty
Pizzicato second movement which more than doffs a hat to the equivalent movement in Tchaikovsky’s Fourth
Symphony. After two superb movements Foote’s grounding in Germanic models via Chadwick, Paine and
Parker as well as a good few European tours delivered a seething heaven-high fugue which has its moments.



Music by Victor Herbert & Arthur Foote
Played by The London Octave
Conducted by Kypros Markou

"Wonderful collection of rarely heard string serenades by American composers. The Foote is
reminicent of the Bohemian (Czech) Antonin Dvorak String Serenade and the others are just
as enchanting. Bravo to Maestro Markou for researching these hidden gems. The string
playing is sensitive, balanced and expressive. I highly recommend this terrific CD."
Amazon Reviewer





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No.964
Late Romantic

Enquiries for Joseph Holbrooke�s orchestral music have been heard from enthusiasts for many years,
and are now answered by Dutton Epoch�s recording shared between the Royal Scottish National Orchestra
and the Royal Liverpool Philharmonic. Soloist Raphael Wallfisch gives a singing performance of the
delightful Cello Concerto, while the Fourth Symphony, the vivid tone poem The Pit and the Pendulum
and the waltz Pandora, a charming encore from a 1920 ballet score, represent Holbrooke at his tuneful best.
All are world premiere recordings, vividly played by the two orchestras.



Music Composed by Joseph Holbrooke
Played by the Royal Liverpool Philharmonic & Royal Scottish National Orchestras
With Raphael Wallfisch (cello)
Conducted by George Vass

"Holbrooke wrote many works inspired by the writings of Poe. These included some of his most
famous. The Pit and the Pendulum (after the short story of the same name) did not secure a
premiere until 2008 when Christopher Fifield conducted it with the Lambeth Orchestra. It's an overture-
length work in a manner that can be likened to Franck's Chasseur Maudit. Since writing the review I
have heard from John Sands that the material for The Pit was drawn from his 1915 Ballet opera
The Wizard. Mr Sands believes that the lost 'Poeana' tone poem The Maelstrom (also from the 1920s)
would also have been derived from The Wizard. In any event The Pit is lively, melodramatic, yes but
full of incident, quite exciting, a little bumpily episodic. Personally I'd forget the Poe story while listening
except as a sort of generalised ambience to the overall mood. It would manage quite happily without.
Imagine if Bax had written explicitly into his Tintagel score little plot signposts. The Holbrooke piece
manages quite well without thinking - ah, here is the bit where the hapless victim is strapped onto a
table above the swinging blade. A lighter-hearted but very accomplished companion overture
Amontillado is on CPO and is very well worth tracking down.

Dexter Newman's engineering bears magnificent fruit throughout. The recording quality excels.
For proof listen to the opening of the 1930s Cello Concerto. It's in a romantic idiom and Raphael
Wallfisch rises to its sumptuous virtuosic heights. It can be thought of as a companion to the
Dvor�k and Lalo concertos. Pleasing music, passionate and inventive with a haunting Adagio.
It was premiered at an Eisteddfod in a large canvas marquee. After a few performances stretching
into the 1940s - none of them by top-flight orchestras or great names - it fell into the darkness
only to be resurrected now.

The Fourth Symphony is from the mid-late 1920s though much revised after that. It dates from
between the Third (1920) and the Fifth Wild Wales. Written as an entry for the Schubert Centenary
Competition it pays elegant homage to Schubert in music that melts between pastiche and late
romantic. It's a work of attractions with chuckling guile and romantic proclivities. It sometimes
has the feel of the Schubert Great C major. Vass is most attentive throughout and breathes
vivacious life into all these scores. The Viennese swing he draws from the Fourth is just one
example. In the Andantino sostenuto the mood is more impressionistic - a deep bow to
Schubert in language that is pastoral - almost Goossens� By the Tarn - at first before picking
up on moments of serenade. There's a lovely harp and flute central episode at the core.
The finale is joyous with asides similar to the manner of his friend Bantock's Pierrot of the
Minute. The finale has a fine swirling energy with a touch of Kodaly about it and a final
reference back to the pastiche of the first movement.

Pandora is a ballet score that never quite made it into the dance repertoire. It's in effect a
grand stately dance in a manner familiar from Geoffrey Toye and Haydn Wood. Silvery almost
innocent music, very charming indeed with hearts set a flutter. Let's hope that Dutton can
track down orchestral materials for the host of dance-band pieces JH wrote in the 1920s
fuelled by the flapper craze and his and his wife's enthusiasm for dancing. Their titles
include one called Let's Brighten Brighton. Pandora however is a gently amorous dance
and really distinctive. A memorable score."
Musicweb





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No.965
Modern: Tonal

Cast in four movements and lasting some 37 minutes, Stanley Bate's Symphony No.4 a grippingly argued
utterance, full of durable invention, compellingly paced and sharing something of the dark-hued, epic countenance
of Vaughan Williams�s Sixth and Shostakovich�s Tenth, as well as the second symphonies of William Wordsworth,
William Alwyn and David Diamond. Echoes of Rubbra and Havergal Brian are also present. But this is deeply
personal music just the same: The scoring, too, is unfailingly well judged, with some particularly rewarding
writing for principal flute. A notable find, in sum, and a work to make one hope that Dutton continues its
exploration of this underrated figure�s extensive output.

The substantial coupling comprises conductor Martin Yates�s splendidly involving completion of the
sketches for Richard Arnell�s Seventh Symphony, upon which the octogenarian composer worked between
1996 and 2005 until his eyesight and hearing began to fail him. Originally conceived as an 80th-birthday tribute
to Nelson Mandela, and laid out for large orchestra (including two sets of timpani), it�s a big-hearted statement,
often angular and not afraid of embracing dissonance, yet culminating in a disarmingly simple �big tune� of
which Arnell�s good friend Malcolm Arnold would have been proud. The central Andante serioso, by turns serene
and defiant, is especially impressive in its sustained intensity, while the finale generates something of the
lump-in-the-throat spectacle of Walton�s film music (and the thunderous tutti around five minutes in
irresistibly calls to mind the shattering apex of the latter�s First Symphony).



Music by Stanley Bate & Richard Arnell
Played by the Royal Scottish National Orchestra
Conducted by Martin Yates

"All the color one may want is to be found in these performances, and in Bate�s finale, a startling
amount of sharply accented brutality. I was much taken with the restricted dynamics in the opening
and closing pages of his scherzo, and the balance within and between orchestral sections
everywhere on this recording. I could have done with more headlong desperation at times in
both the opening movement and scherzo of that work, but then I prefer Shostakovich�s more
somber symphonic movements delivered with an emotional rawness, and Bate�s Fourth shares
for me that apocalyptic landscape. There�s no denying the care in any case with which Yates
gradually builds to the tension of the scherzo�s central section, or the attention paid to
maintaining textural clarity. Much the same can be said of the Arnell Seventh, with especially
handsome playing in the opening movement.

Factor in Dutton�s usual excellent sound, and you�ve got a disc that should interest and please
fans of both Bate and Arnell. Hopefully, the recording label can be convinced to continue
recording music by both, for much remains to be explored."
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No.966
Late & Neo-Romantic/Light Music

Dutton Epoch’s survey of tuneful short works by John Ireland (including the last two unrecorded
songs orchestrated by Ireland himself and sung here by Roderick Williams) is filled out with a selection
of encores by British composers and two unrecorded orchestral songs by Elgar. The overture by Tranchell,
a gorgeous interlude by Walter Collins and tuneful folk dance arrangements by Herbert Murrill are coupled
with more substantial fare by Lionel Sainsbury – a muscular and invigorating Allegro Risoluto for strings
and Elis Pehkonen’s evocative and finely drawn orchestral sunset, Sunset and Evening Star.



Music by [see above]
Played by the BBC Concert Orchestra & The Royal Ballet Sinfonia
With Roderick Williams (baritone)
Conducted by Martin Yates, John Wilson, Gavin Sutherland & Paul Murphy

"One thought that struck me is that I could be forever trusting of Dutton’s
explorations. Never once have I seen a Dutton release of this ilk that is
disappointing. All have works that move between interesting and discovery.
Long may this continue."
Fanfare





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No.967
Modern: Tonal

At last, Havergal Brian (1876�1972) has become known for his music as much as his longevity.
As astonishing as it is to realize that he wrote 26 symphonies (and much else besides) after the age of 75,
it is even more astonishing to hear the works themselves in all their strange and colorful complexity.
Highly knowledgeable about contemporary music, Brian nevertheless went his own way, adhering to no
specific system and adopting few stylistic fashions or trends. Even early on, however, the basics of
Brian�s own style were manifest: a reliance on juxtaposition and sudden contrast, themes containing
leaps of unexpectedly large intervals, fluid bass lines, and colorful orchestration making significant use of
percussion.

The 10th Symphony, typically in one movement, shows all those characteristics. It opens with a
portentous march, which is frequently interrupted by passages of mysterious stasis. Themes are in constant
flux and a harmonic restlessness often brings Allan Pettersson to mind. This is not easy music to follow,
but from moment to moment it enthrals. A lone high violin, in a passage of sudden tenderness, leads to a
splashy climax�lots of the composer�s beloved snares and cymbals�followed by a subdued but uneasy
coda. Symphony No.30 begins in a calmer manner with contrapuntal textures; this is Brian in austere
mood, with less of the glittering percussion element. The work is in two linked movements, Lento and
Moderato commodo e leggiero , but each of these is more a mosaic of ideas than a logically unfolding
argument. The second movement finds Brian in grotesque vein; the texture is rich with jaunty and
characterful woodwind figures, at least until the military band element takes over. Once the parade
passes by we are back to the meandering counterpoint of the opening, now highlighted by subtle
contributions from the harp, glockenspiel, xylophone, and tubular bells. The music strengthens to
a broad climax.

Brian�s Concerto for Orchestra was composed in 1964, between his 21st and 22nd symphonies.
He could have easily labeled it as another of his symphonies; it resembles them in every way. Perhaps
in this work orchestral effects are relished a little more for their own sake, and occasionally one section
of the orchestra will prevail, although in Brian�s habitual kaleidoscopic manner nothing settles for very
long. The piece is notable for the lyrical string writing in the central section, and a stirring brass chorale.
The deftness with which Brian orchestrated is remarkable, considering how rarely he got to hear his
music played.

The English Suites have their own individuality, too. Brian wrote five of these over his lifetime,
but the second is missing. They are groups of short genre pieces, in the case of the
Third Suite (1919�21) depicting scenes from the Sussex countryside. Generally, the
movements are scored with a lighter touch than the big symphonic works, except for the suite�s
fourth movement, �The Stonebreaker,� which boasts a vast climax with ad libitum organ
(included in this performance). There is nothing cozy or mistily nostalgic about Brian�s
scenes of village life. The sharp and fragmentary final movement, �The Merry Peasant,�
mischievously evokes that common type of village merriment associated with alcohol.



Music Composed by Havergal Brian
Played by the Royal Scottish National Orchestra
Conducted by Martyn Brabbins

"The Brabbins disc starts with the Tenth Symphony - a strong work - not as accessible
as the Sinfonia Tragica (No. 6) on Lyrita but certainly rapidly capturing the attention.
It is full of resinous gestures, cells and motifs. Like its diminutive brother the 22nd
symphony this is a good place with which to start a Brian odyssey. All the more so
given the glintingly fresh recording.

The earliest work here is the English Suite no. 3 of which there are five (see the
Toccata CD which includes the Fifth). The language here is less congested with a
profusion of ideas. It shows Brian's closest approach to the idyllic English pastoral
evident in the violin melody close to the start of the Third Symphony and in
The Gothic - first movement in each case. This suite is by no means typical Brian
but it is an easy route into Brian.

The Concerto for Orchestra comes like a icy-cold shower after the Suite.
The language used is typically uncompromising. It is not dissonant just
densely populated with ideas and often uproarious and driven on across
hairline cracks and fault lines.

The Thirtieth Symphony (of 32) might well, Malcolm Macdonald surmises,
incorporate material amassed for Brian's opera project on Oedipus at Colonnus.
The tripping and piping woodwind writing at the start of the second movement
suggests some mysterious but not unjoyous night march � a mise-en-sc�ne
not unknown to Brian.

These are brilliant performances and recordings and in this combination
offer easy-Brian and craggy enigmatic Brian."
Musicweb





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No.968
Late Romantic

The celebrated conductor John Wilson returns to Dutton Epoch with the
BBC Concert Orchestra to conduct a third programme of orchestral music by
Edward German, most of the material played being either world premiere recordings
or first digital recordings. This is repertoire on the stylistic cusp between light music and
symphonic fare, and all of it informed by German�s characteristic lyricism and orchestral flair.
The programme is focused on theatre music � the music with which German came to fame �
and includes extended suites from Shakespeare�s Much Ado and Henry VIII, and
shorter extracts from The Tempter and Romeo and Juliet. The Marche Solennelle
of 1890 and the 1911 Coronation March and Hymn complete the programme. Delightful stuff,
and essential not only for the many collectors who bought Volumes 1 & 2 in this series, but also
for those wanting to explore this composer�s engaging music.



Music Composed by Edward German
Played by the BBC Concert Orchestra
Conducted by John Wilson

"As music director of the Globe Theatre on London�s Aldwych, German wrote incidental music for
productions of all of Shakespeare�s plays, and this disc presents selections from three of those.
The overture to Much Ado About Nothing constantly brings to mind Walton�s Crown Imperial march;
take out Walton�s distinctive spicy dissonances, and the two composers have an almost uncanny
similarity in their melodic vocabularies and instrumentation. The brief interlude �In Leonato�s
Garden,� by contrast, brings to mind Mendelssohn (the Midsummer Night�s Dream music) and
Schumann (the Rhenish Symphony), while the even briefer �Dogberry� recalls a tune from the
first movement of Max Bruch�s Serenade for Strings. A concluding French twist is provided by
a Bour�e and Gigue. Throughout everything, however, is that distinctly English idiom that the
mind immediately associates with Elgar, though it was hardly his alone.

The overture to Henry VIII is similar to that of Much Ado , including its similarities to the
ceremonial music of Walton, but in accord with its subject has more regal grandeur. It is
followed here by a solemn prelude to act II (�Intermezzo fun�bre�) and a graceful one to
act III, and then three folk dances that are alternately energetic and beguiling. An extended
�Dramatic Interlude� from the incidental music to Romeo and Juliet makes appropriate
gestures to contrast the play�s themes of strife and love, including a presaging hint of the
tragic ending, but (unsurprisingly) lacks the weight of a full scale tone poem such as
Tchaikovsky�s famous overture. The performance is slightly marred by some out-of-tune
clarinet playing partway through.

The Tempter is a melodrama from 1893 by dramatist Henry Arthur Jones (1851-1929).
Two musical excerpts are presented here: first a stately Berceuse, and then a Bacchanalian
Dance that opens with the expected uproar but has a beautiful, languorous middle section
before returning to its opening bustle. Two incidental marches round out the contents of
this disc. The March Solennelle, subtitled �Funeral March in D Minor,� does not seem to have
been written for any particular occasion, and is as stately as might be expected.
The Coronation March and Hymn , written for the coronation service of King George V
in 1911, is the only work on this disc not composed during the 1890s. Once again,
its proper company is with the ceremonial marches of Elgar and Walton�does anyone
else write music for pageantry as well as the English?

It is certainly great music of its type, and deserves to be heard, appreciated,
and enjoyed for its very real and not inconsiderable virtues."
Fanfare





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No.969
Modern: Tonal/Neo-Classical

This world premiere recording of Peter Horton�s new edition of Vaughan Williams� Fifth Symphony edited
from the manuscript is the first time a recording addresses all the textural problems left in the published score.
Peter Horton writes: �The composer�s notoriously hard-to-read handwriting caused further problems, as the copyist
assigned to make a fair copy of the score introduced a large number of mistakes, principally (but not exclusively)
in the phrasing and articulation. To compound matters, these subsequently made their way into the orchestral
parts and the published score. The most significant was the delay by one bar of a timpani entry in the Romanza.�
The coupling is Christopher Wright�s deeply felt Violin Concerto sensitively played by
Fenella Humphreys. Christopher Wright�s affecting Concerto was written in memory of his wife, and
looks perhaps to Walton for its stylistic roots, especially in the scherzando elements of the middle movement.
Composer Elis Pehkonen writes how, �Words cannot convey the beauty and emotional content of this music.�



Music by Ralph Vaughan Williams & Christopher Wright
Played by the Royal Scottish National & Bournemouth Symphony Orchestras
With Fenella Humphreys (violin) & Christopher Watson (tenor)
Conducted by Martin Yates

"Christopher Wright (b. 1954) is not to be confused with the better known Geoffrey Wright (b. 1912),
even if listings for the two in the Fanfare Archive are (as of the writing of these lines) intermingled
with those of at least three other composers with the same surname (Denis, Maurice, and Searle).
Christopher�a pupil of Richard Arnell who followed a vocation as a schoolteacher for 16 years before
turning to full-time composition in 1993�has enjoyed a previous release of his music by Dutton, a
disc of varied orchestral works heralded by Paul A. Snook in 33:6, and a 2006 release on the Merlin
Classics label of several pieces of chamber music. Both attracted favorable reviews.

The composer himself writes of his Momentum overture that it �has no other programme than to give
enjoyment to both listener and performer,� and in that it succeeds, if modestly. Constructed in the
tried and true A-B-A� ternary form, it reminds me of much of the tonal music currently being written
for concert band, and indeed could be easily adapted for such an ensemble instead. Its edgy
nervousness, neoclassical rather than neoromantic and spiced with a jazz idiom, brings to mind
some of the works of Edward Gregson.

The Violin Concerto, composed in 2010, is a memorial to the composer�s wife, Ruth, who died of
cancer in 2009, and is subtitled �And then there was silence....� It is so nice to have a violin concerto
that is unabashedly melodious, instead of one trying to prove its modernist credentials to academic
mandarins of musicology and composition. Wright simply concentrates here on writing good music
that is well constructed, expressive, and communicative rather than �original,� and succeeds
unreservedly in that. Cast in three movements, it unconventionally inverts the usual tempo pattern
for a three-movement work to offer a slow-fast-slow sequence of Larghetto-Allegro-Andante .
Still more unconventionally, in the last movement the violinist is joined by a tenor soloist, who
sings the first stanza of the poem Echo by Christina Rossetti (1830�94). A slightly melancholic
and wistful first movement has only one passage that ever so briefly rises above a mezzo forte .
The succeeding Allegro sounds decidedly like Vaughan Williams�albeit the composer of the
dissonant Fourth Symphony as well as the more lyrical pastoral works�with just a pinch of
Shostakovich, as a vigorous opening gives way to a pastoral interlude. The third movement,
a lament, returns to the subdued atmosphere of the first. Fenella Humphreys is a top-notch
violin soloist, producing a pure, sweet tone of piercing beauty. The high-lying tenor part
consists mostly of soft, sustained pitches; Christopher Watson renders it very well, though
the voice is not a suave one. Conductor Martin Yates and the Royal Scottish National Orchestra
present a winning rendition.

The concerto makes a very apt pairing to the Vaughan Williams symphony in mood. Another
reason for this coupling is the opportunity to make the first recording of a new critical edition
of the symphony�s score, which corrects numerous errors in the 1946 Oxford University Press
edition resulting from the copyist�s efforts to decipher the composer�s almost illegible handwriting.
Most of the changes are subtle ones in phrasing and articulation; among the more important
corrections is the entrance of the timpani one bar earlier at one point in the third movement,
though most conductors have long known of the problem and already made that alteration in
their own scores. The recorded sound is, as always with Dutton, excellent. Recommended,
then, for acquisition of Wright�s very worthwhile concerto."
Fanfare





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No.970
Modern: Tonal

In this attractive programme, issued as a 2-CD set, Dutton Epoch presents two sides of English composer
Michael Hurd’s (1928-2006) musical persona. The first disc is devoted to various charming orchestral
compositions spanning the late 1960s to the early 1990s, and is effectively another entry in Dutton Epoch’s British
Light Music series. Lorraine McAslan is the persuasive soloist in Hurd’s Sinfonia Concertante, originally
written for the Kathleen Merritt Orchestra in 1968 and one of Hurd’s first substantial orchestral works. Oboist
Nicholas Daniel is featured in the Concerto da Camera. Dating from the late 1970s, the composer
remarked that it formed a “tribute to the genius of Francis Poulenc, and like his work seeks simply to ‘give
delight and hurt not’ in a world where obfuscation and gloom are too often the order of the day.”

Over on disc two we have four compositions for large children’s choir with orchestral accompaniment and,
in some cases, more modest forces. Charms and Ceremonies from 1969, with words by Robert Herrick,
a favourite of the composer, exemplifies Hurd’s instinctive and practical understanding of music for young singers,
whilst the nautically-inspired Hip Hip Horatio marks one of the high points in Hurd’s career. Mock-solemn
recitative contrasts with choruses in a deft variety of styles. Calypso, waltz and cockney knees-up all play their
part in a work steeped in the composer’s intimate knowledge of English musical traditions. With flair and
panache, Ronald Corp leads the New London Orchestra and New London Children’s Choir,
aided and abetted by various soloists, through this delightful programme, giving us a valuable insight the
colourful musical world of Michael Hurd.



Music Composed by Michael Hurd
Played by the New London Orchestra
With Lorraine McAslan (violin) & Nicholas Daniel (oboe)
And the New London Children's Choir
Conducted by Ronald Corp





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No.971
Light Music

The fourth volume of Dutton Epoch�s exploration of John Foulds� light and theatre
music is every bit as entertaining as the previous volumes, with many delightful discoveries, and
concentrates on typically extrovert and tuneful music from the 1920s and �30s. It is complemented
by the surviving two movements (the Lento e Scherzetto) of a second cello concerto (it would
actually have been the first) from 1906, and our first experience of Foulds� grandly Wagnerian unheard
epic The Vision of Dante, in the premiere performance of the "Prelude". The atmospheric suite
from George Bernard Shaw�s Saint Joan � once one of Foulds� most popular works � and the "Prelude"
to Euripides� tragedy Hippolytus bring a more serious tone to the proceedings. The boisterous
and catchy Grand Durbar March, however, reminds us that Foulds spent his last years in India.



Music Composed by John Foulds
Played by the BBC Concert Orchestra
Conducted by Ronald Corp

"This may well be the most rewarding volume yet in Dutton�s hugely enterprising John Foulds series.
Particularly striking here is the powerfully evocative and opulently scored Prelude from The Vision of Dante
(1905 08), a concert opera in three acts for chorus and orchestra which sets Longfellow�s translation of
Dante�s Divine Comedy. Both Elgar and Bantock sang the praises of this large-scale opus but it was never
performed in Foulds�s lifetime. A similar fate befell the contemporaneous (1906) Lento e Scherzetto for
cello and orchestra, a bewitchingly lovely diptych that would seem to comprise the last two movements
of a jettisoned concerto. Next comes a 17-minute suite from Foulds�s 1924 incidental music for George
Bernard Shaw�s Saint Joan. It�s strong in personality and crammed full of first-rate invention, as for
that matter is the eloquent, oboe-led Prelude from the score that Foulds supplied for a 1925 London
production of Euripides�s Hippolytus. There�s also much that is endearing about the five-movement
Puppet Ballet Suite of 1932 34, whose five numbers possess a nonchalant, Gallic flair. Last, but not
least, we get two crowd-pleasing encore items from Foulds�s final years in India: the roistering Grand
Durbar March (1937 38) makes a terrific splash (its trio section cleverly incorporates a raga melody),
while the winsomely delicate Badinage (1936) boasts two maddeningly catchy tunes that are hard
to dislodge from one�s brain.

Throughout, Ronald Corp secures a chipper and affectionate response from the BBC Concert
Orchestra. A truly excellent anthology, this, justly dedicated to the memory of the irreplaceable
Malcolm MacDonald, the composer�s doughtiest champion."
Gramophone


John Foulds and other visitors from Metaluna IV.



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No.972
Modern: Tonal

More world premiere symphony recordings for Havergal Brian fans! In this programme,
Martyn Brabbins and the Royal Scottish National Orchestra continue their Havergal Brian
series for Dutton Epoch with one of Brian's most delightful scores, Wine of Summer, the fifth
symphony of 1937. The eloquent baritone soloist is Roderick Williams, the orchestral detail
beautifully realised in Dutton Epoch's recording. Brian's two more powerful later symphonies,
No.19 (1961) and No.27 (1966-67), make a striking, even heroic contrast, while the
ebullient and tuneful Festal Dance of 1908 completes the programme and receives an irrepressible
reading.



Music Composed by Havergal Brian
Played by the Royal Scottish National Orchestra
With Roderick Williams (baritone)
Conducted by Martyn Brabbins

"The third in Dutton�s series devoted to Havergal Brian begins in the paddling pool with the
compact gusto of the 1908 Festal Dance, remnant of his withdrawn Fantastic Symphony.
Then we�re plunged into the wild rough seas of a British composer who manages to fascinate
and baffle at exactly the same time. Symphonies Nos 19 and 27, from the 1960s, share the
terse, kaleidoscopic textures typical of Brian in extreme old age. Martyn Brabbins and his
Scottish forces pounce on every glinting detail and quirk, through flute meanderings,
punctured marches and beatific visions to the xylophone�s skeleton dance.

There�s a suitably liquid flow about the 1937 Wine of Summer, Brian�s verdant if eccentric
setting of a woozy poem from the 1890s by Oscar Wilde�s beloved, Lord Alfred Douglas.
Roderick Williams squeezes every lyrical drop from the sometimes arid vocal line, though
it�s the orchestral details that grab the ear as the poet lies in his midsummer wood,
contemplating bees, brier roses, and old loves that used to burn �like fierce red kings�.
Fruity stuff."
BBC Music Magazine





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No.973
Romantic

These two Russian symphonies come from a time when Tchaikovsky was still role model No.1,
Myaskovsky had yet to appear and the young Rachmaninov and Scriabin were the new front-
runners. Each work is open to charges of epigonism, yet each is a valuable document.

Felix Blumenfeld (1863-1931) was one of a long line of Russian symphonists known as both
a pianist and a teacher. Information about his only Symphony is scant, with even its date uncertain
(there was a first performance in 1907). Malcolm MacDonald�s booklet-note speculates that it may
have been written in commemoration of casualties in the 1905 Revolution. Even without the subtitle
to guide us, and even before the slow finale, the piece has a strongly elegiac tone. The finale itself
is shorter and rather more perfunctory than that of Tchaikovsky�s Path�tique but is surely modelled
on it � Bruch�s Violin Concerto is also referenced melodically.

Georgy Catoire�s (1861-1921) Symphony is an even greater rarity. It was composed
piecemeal over a number of years from around 1889 and may never have received a complete premiere
in the composer�s lifetime (here MacDonald�s sources are queried by Anna Zassimova�s recently publishe
d monograph on the composer).



Music by F�lix Blumenfeld & Georgy Catoire
Played by the Royal Scottish National Orchestra
Conducted by Martin Yates

"This Blumenfeld Symphony is in four movements and takes us through noticeably a Tchaikovskian
Manfred-like gloom shot through with Elgarian nobilmente. The Larghetto is touchingly and even
yearningly elegiac. The Allegro con fuoco comes third with yet more Tchaikovskian DNA in baggage
somewhere between Hamlet and the grander balletic apotheoses. The Largo epilogue has about
it something of the glistening starlight of the equivalent moments in Elgar�s Second Symphony.
This movement rises to an extended, slowly-unfolding climax at 3:00. The music also reminded
me of an overtly Tchaikovskian symphony: the Danish composer, Louis Glass�s Fifth. Both the
Glass and the Blumenfeld are well worth hearing.

There has been much more Catoire on disc. His name might be distantly familiar to you, probably
because his music was championed by Oistrakh and has appeared in various places including
on Brilliant Classics, Hyperion and Aliud. In 2008 I was completely captivated by his two violin
sonatas on Avie and that disc was one of my Recordings of the Year. Those two sonatas will
appeal to all who enjoy the Medtner violin sonatas. Catoire knew Tchaikovsky and may be
counted a disciple of the master. He also had that adept miniaturist, Liadov as a teacher at
the Moscow Conservatoire, where Catoire was later to be a professor to many of the next
generation, including Kabalevsky.

The Catoire Symphony is fragrantly Russian; more in the line of Balakirev, Borodin and then
Glazunov. The big Allegro moderato first movement alternates Slavonic gloom with engagingly
lilting woodwind ideas, as at 2:33. The Allegretto is delightfully chipper and is followed by a
pensive Andante non tanto which touches hands with Blumenfeld�s completely understandable
infatuation with Tchaikovsky�s Manfred. There�s even a French horn solo that is reminiscent
of a similar episode in Tchaikovsky�s Fifth - if not quite as extended. Catoire�s Glazunov
credentials and sympathies are on his sleeve at the start of the cheery and sometimes
bubbly Allegro moderato ma con spirito finale. Soon he has us thinking of Rimsky�s
Antar - not a bad model. The final pages are a shade dutiful but we are sure to like
where the music is going and how it gets there."
Musicweb


Georgy Catoire, F�lix Blumenfeld.



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---------- Post added at 01:35 PM ---------- Previous post was at 01:35 PM ----------


Love these Dutton Epoch CD uploads: thanks for sharing!

Almost done. :)

Thank you for sharing this!

No.974
Modern: Tonal

Unlike many contemporary composers, David Matthews has been much concerned
with working in the great, inherited forms of the past � symphony, string quartet,
oratorio � and finding new ways of renewing them. In a similar spirit, he has
never shied away from tonality, from a musical language that is clear and direct,
and from a joyous spirit of dance; �If only music could dance once again!� he
reflected upon listening to Monteverdi�s Vespers. This is the work that inspired
his own Vespers, a grand oratorio masterfully combining a sense of solemnity
and exhilaration, and which makes an important addition to the great tradition
of amateur choral music. The same feeling of boisterous energy is felt in Matthews�
seventh, and most recent, symphony. Once again, Matthews is unafraid of
connections with great composers of the past and the model of Sibelius�s Seventh
Symphony � a one-movement work that subtly transitions from slow to fast and
back again � provides a template from which Matthews creates a piece of exquisitely
scored beauty and richness.



Music Composed by David Matthews
Played by the Bournemouth Symphony Orchestra
With Katie Bray (mezzo-soprano) & Matthew Long (tenor)
And The Bach Choir
Conducted by John Carewe & David Lee

"This world-premiere recording, which came out earlier in the summer, confirms David Matthews (b.1943)
as a natural composer for voices � here, the full-bodied, occasionally untamed Bach Choir � as well as a
richly gifted orchestral colourist happy to find invention in tonality and tradition. The Vespers, religious
in impulse rather than doctrine, use Latin texts with grand orchestral eruptions and explosions, ethereal
choral writing and implicit reference (described by Matthews in a note to the piece) to Hindu tradition as
well as Christian. Three poems by Rilke, that most spiritual of poets, are sung in English by soloists and
interspersed. The Symphony No 7 (2008-9), with its beguiling opening viola theme, is full of climactic,
thundering event and a lyricism Vaughan Williams or Sibelius might have envied."
The Guardian





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Good heavens! When do I ever find the time to listen to all this greatness? Thank you!

wimpel, what is going on, do you know have a whole group of helpers now or what? so much coming in, did you get pensioned :-) ?

Links received !!!

:) :) :) :)

Many thanks, dear wimpel69 !!!

This is a FANTASTIC collection of GREAT british works (even if not very well known... ) !!!

All the BEST !!!

Links received

This is just like Christmas and Birthday on 1 day ..


WOW ..just WOW ..Thank you for your work and patience..

and I promise ..next request will be smaller ... MUCH smaller :) ...

Have a nice weekend and thank you again!!!

No.975
Modern: Neon-Romantic/Tonal

Dutton Epoch explores unrecorded Arnold Bax! The strings of the Royal Liverpool Philharmonic
create a powerful impression in the Variations on the name Gabriel Faur� and the early Symphonic Serenade.
These two tuneful works for strings are a delightful addition to the canon of recorded Bax. They are coupled with
Richard Arnell�s Classical Variations Op.1 � an essential footnote to the symphonies and a must for all collecting
the Dutton Epoch Arnell series. The CD is completed by Stephen Dodgson�s delightful Essay No.7 for orchestra,
and a fascinating discovery � conductor Norman Del Mar�s bold one movement Allegro Concertante for horn
and strings. This muscular concerto-movement, brilliantly played by Stephen Bell, was written by a professional
horn player, but with his friend Dennis Brain very much in mind.



Music by [see above]
Played by the Royal Liverpool Philharmonic & BBC Concert Orchestras
With Stephen Bell (horn)
Conducted by Martin Yates

"For some listeners, the title English Music for Strings will evoke memories of John Barbirolli's
spectacular 1966 EMI disc featuring works by Edward Elgar and Ralph Vaughan Williams. Though
this 2010 Dutton disc of the same title, featuring Martin Yates, also includes English music for
strings, the composers range from the much less familiar Arnold Bax to the nearly unknown
Stephen Dodgson, Richard Arnell, and Norman del Mar. None of these works can hold a candle
to Elgar's Introduction and Allegro or Vaughan Williams' Thomas Tallis Fantasia, but they are all
still fine and attractive works, particularly Arnell's beautifully proportioned and lovingly lyrical
Classical Variations in C for strings. And while Martin Yates is no John Barbirolli -- the
extraordinary tonal sweetness that the older conductor was able to get from strings is not
present here -- he is a technically accomplished conductor with an obvious enthusiasm
for the repertoire, and the Royal Liverpool Philharmonic's strings play with a ravishing
tone and depth of dedication. Though not for everyone, this disc will likely please English
music fans, especially in Dutton's clean but atmospheric digital sound."
All Music





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This posting concludes my survey of Dutton Epoch albums.

A tremendous collection, can not thank you enaugh for this wonderful music. So many for me unknown works. I need some weeks more holydays to listen to this all.
Endless thanks wimpel69.

This is simply MUSICAL DREAM SET !!! Because of such a human beings like you Wimpel69 it is easer to be better one.

thank youu!!!
http://www.millan.net/minimations/smileys/imoksmiley.gif

No.976
Modern: Neo-Romantic

By the time his eagerly-awaited First Symphony appeared in 1950, Alan Rawsthorne had already
established a singular voice with his Symphonic Studies, the Concerto for String Orchestra, the
First Piano Concerto and the First Violin Concerto. The First Symphony is an energetic,
inventive and superbly scored work. The Second Symphony, �A Pastoral Symphony�, is no programme
piece but rather a general expression of the pleasures of life in the country, even if, beneath the surface of the
music harsher, melancholy undertones can be sensed. The Third Symphony, returns to the turbulence
of the First Symphony, now tempered by the subtle colouration and gentler expression of the Second.
At its heart lies the haunting Sarabande slow movement, one of Rawsthorne�s finest creations.



Music Composed by Alan Rawsthorne
Played by the London Philharmonic & BBC Symphony Orchestras
With Tracey Chadwell (soprano)
Conducted by John Pritchard, Nicholas Braithwaite & Norman Del Mar

"What a valuable and rewarding release! Dedicated Anglophiles will recall that Sir John Pritchard�s
account of Rawsthorne�s First Symphony originally appeared in harness with a vivid reading of the
superbly inventive Symphonic Studies (perhaps this composer�s masterpiece), whilst Norman Del
Mar�s version of the Third was paired with a stunning rendering of Roberto Gerhard�s exhilarating
Concerto for Orchestra (I must confess I have always treasured my copy of the Argo LP featuring
this latter coupling). Both these vintage recordings (made in Kingsway Hall and dating from 1975
and 1967 respectively) have come up as fresh as new paint in Simon Gibson�s admirable transfers �
turn up the volume just a little and the Third Symphony in particular sounds astonishingly fresh
nearly 30 years on. The Second Symphony, entrusted to the London Philharmonic under Lyrita
stalwart Nicholas Braithwaite, is a brand new digital recording from August 1993, supervised by
the expert team of producer Andrew Keener and sound engineer Mark Vigars.

Rawsthorne�s three symphonies form a powerful triptych. The First (1950) impresses with its
urgency and polish. It is a substantial utterance, turbulent and serene by turns, rich in strong
ideas, and passionately essayed here by Pritchard and the LPO. The Second, of nine years later
(A Pastoral Symphony) inhabits an altogether more relaxed and delicate landscape than its
moody predecessor, yet with no diminution in terms of concentration or proportional elegance.
In the Andante finale, Rawsthorne incorporates a radiant setting (pleasingly delivered on this
occasion by soprano Tracey Chadwell) of a poem in praise of summer by Henry Howard,
Earl of Surrey (1516-47): it exhibits a grace and gentle melancholy which are entirely
characteristic of its creator. Braithwaite and the London Philharmonic have the measure
of this likeable score, and the Watford Town Hall sound is full and airy to match. Del Mar
and the BBC SO prove themselves to be no less eloquent protagonists of the Third
Symphony (1964). This is at once the darkest, most extended and profound of the three.
Ambitious in scope and evincing a fastidious craftsmanship, its emotional kernel comprises
the second movement �Alla Sarabanda�, a noble, deeply felt processional, which contains
some of Rawsthorne�s most intense, anguished inspiration.

Let�s hope that this useful issue signals the reappearance on CD of other British Council-
sponsored recordings from this source (how about a new lease of life for Del Mar�s very
fine Argo version of Nicholas Maw�s glorious Scenes and Arias � 10/69?). In the meantime,
however, a hearty welcome for another Lyrita winner.'"
Gramophone





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No.977
Modern: Neo-Classical

One decade an enfant terrible, the next decade a reactionary: isn't that always the way? Take the
career of Constant Lambert. In the '20s, Lambert was celebrated as the snappiest composer of
the postwar England, a position he unwillingly surrendered in the '30s to more aggressively modernist
composers. These days, Lambert is remembered less for his once fashionable music and more for his
massively depressing Music Ho! -- a book prophesizing the musical end of the world that neatly coincided
with Lambert's own eclipse.

Lambert's two ballets written for Diaghilev in the mid-'20s sound like first-rate conservative modernist
music. Romeo and Juliet and Pomona prove supple and charming neo-classical pastiches,
dancing with effortless elegance and singing with real lyricism when it's called for. As a bonus, the disc
includes two more abstract examples of Lambert's art: Music for Orchestra from 1927 and the
King Pest Rondo Burlesca, the final movement from his masterpiece Summer's Last Will and
Testament from 1935-1936. The richly colorful and masterfully structured Music for Orchestra.



Music Composed by Constant Lambert
Played by the English Chamber, London Philharmonic & Royal Philharmonic Orchestras
Conducted by Norman Del Mar, Barry Wordsworth & Simon Joly

"Norman Del Mar's effervescent pairing of Romeoand Juliet (1924-25) and Pomona (1926)
ranked high on many an enthusiast's Lyrita wish-list and the first thing to say is that the 30-year-
old Kingsway Hall production leaps out of the speakers with startling bite and tangibility in its
silver-disc reincarnation. Although the intervening years have brought other rewarding versions
of these two delicious ballets, Del Mar's vintage performances project with a tangy zest, charisma
and infectious rhythmic spring all their own. The ECO's distinguished woodwind roster leave an
especially personable impression and both scores. The fill-ups (recorded in 1989 and 1993
but previously unreleased) are worth having too.

King Pest (a scary helter-skelter ride fairly grinning with malice) comes from Lambert's
towering 1932-35 'masque' Summer's Last Will andTestament and Simon Joly's spirited
realisation with the RPO makes an enjoyable pendant to the complete work. More valuable
still is the long-overdue revival of Music for Orchestra (completed in 1927, when Lambert
was still only 22). Barry Wordsworth and the LPO strain every sinew in what, amazingly,
appears to be this little masterpiece's first stereo recording."
Gramophone





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No.978
Late/Neo-Romantic



Music by John Ireland & Frank Bridge
Played by the London Philharmonic Orchestra
Conducted by Sir Adrian Boult

"It's amazing how good these forty year old analogue tapes sound. I am referring to the
Ireland items. The Bridge pieces are also analogue but from analogue's G�tterd�mmerung
years just before DMM and digital-based LPs began a brief ascendancy and before the arrival
of the real silvery thing.

The Ireland is given a full-blooded performance with a gripping sound typical of Boult's EMI
recordings of the Bliss Music for Strings and Howells Concerto for Strings for EMI Classics.

Concertino Pastorale is one of Ireland's most touching works and this version has never
been surpassed for its sumptuous and elegiac tone. The string sound has no steel, only
silver, and an oaken attack. This is Ireland full of vitality and perhaps influenced by the
young Tippett's Concerto for Double String Orchestra. It also has that resonance, vitality
and liveliness that will remind you of the Lyrita recording of Boult's Moeran Sinfonietta.

The Holy Boy is a mite too pressed, as if Boult was determined to avoid any sentimentality
in this most sentimental of works.

The two movements from the Downland Suite receive a luminously eloquent recording.
The rocking Minuet with its redolence of Lavender Blue is superbly pointed and rhythmically
sprung while the Elegy flows with lilting charm. Such a shame that Ireland did not transcribe
the other two movements of the suite.

After the fine vintage sound of the Ireland tapes the Bridge items are just a shade warmer
and slightly softened in focus. Rosemary is warmly Delian and rises to a moment of
sumptuous ecstasy at 1:33 - most surprising in a work of only 3:26.

The four movement Suite suggests influences from Sibelius's Rakastava and Tchaikovsky's
Serenade for Strings. The scudding Intermezzo is a little charmer and cleanses the palate
for the Nocturne which looks forward to There is a willow and the slow movement of the
Moeran symphony. This strand continues in the most harmonically complex of the pieces
here � the touching Lament was written in memory of Catherine aged 9 drowned in the
Lusitania sinking.

Sally in our Alley is given a dry-eyed Elizabethan curve contrasting with its companion
the fly-away Cherry Ripe which has some of the wildness unleashed of Song of My Heart.
Any remaining cobwebs are blasted away by the delightfully intriguing and skirling
cross-currents of Sir Roger de Coverley."
Musicweb





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Holy F Sharp! A Dutton Explosion!

No.979
Light Music

Fans of Eric Coates and Sir Adrian Boult are in for a field-day as Lyrita at long last restores to
currency the 87-year-old maestro�s much-loved 1976 concert with the New Philharmonia. When one turns
to Boult�s famous selection, it radiates a tingling spontaneity and beaming affection that are very special. For
evidence of a master at work, just listen to the way Boult caresses the glorious second subject in The Merrymakers;
and what vernal freshness and unruffled elegance he brings to the witty Three Bears fantasy and entrancing
Summer Days suite (a great favourite of Elgar�s, and whose fragrant centrepiece possesses a truly heady beauty).
The rest of the CD is filled out with seven treats from Lyrita�s 1978 �Sir Adrian Boult conducts Marches� anthology (SRCS71).
Grainger�s irresistible Over the Hills and Far Away in particular fairly bounds along with irrepressible vigour �
as, for that matter, does Coates�s The Dam Busters � and Delius�s Marche-caprice has a captivating twinkle in its eye.



Music by Eric Coates & various composers [see below]
Played by the New Philharmonia and London Philharmonic Orchestras
Conducted by Sir Adrian Boult

"Of the Coates all but The Dam Busters are with the New Philharmonia. We start with a notably
vivacious Merrymakers Overture with some memorable work from the woodwind. Summer Days
is an early three part suite with a heavily Leh�r-indebted finale and an affecting saunter. In a
Country Lane, the first movement, is redolent of German followed by On the Edge of the Lake
which partakes on the one hand of a Graingerian sentimentality combined with a Grieg-Dvoř�k
innocence. We get two movements only from the three movement suite From Meadow to Mayfair.
In the Country is warm and gently swinging. Evening in Town has that busy-grand bustle so
typical of Coates in his London suite finales but shot through with the romance of the ballroom.
I am very partial to the Elizabeth of Glamis movement from The Three Elizabeths. For whatever
reason Boult chose to give us only the finale which includes one of Coates� most whoozy
Toy Town style marches � OK there�s a sort of Elgarian trio but gorgeous trumpet playing
aside this is not one of Coates� finest moments � for that I send you back in this collection
to The Merrymakers Overture. The Dam Busters march is done faithfully and with no
punches pulled. This is jaunty and crashingly heroic with brass calling out their hearts."
Musicweb





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No.980
Modern: Neo-Romantic/Neo-Classical

The Symphony in G minor was the only completed symphony written by Ernest John Moeran.
He wrote it in 1934�37. It is in four movements. In 1926, the conductor of the Hall� Orchestra, Sir Hamilton Harty,
commissioned a symphony from Moeran. He had already been working on a symphony since 1924, and the
premiere performance of the new work was announced for 4 March 1926. However, when it was almost finished,
he decided he was not satisfied with its structure and withdrew it. Over the next eight years he worked on
his revision of the piece, but in 1934 he abandoned his sketches and started again. He reused some earlier
material, but the work was substantially new. The symphony was finished on 24 January 1937, and dedicated
to Harty. Harty initially refused the dedication after he was overlooked as the conductor for the first performance
by now he was ill and had left the Hall� Orchestra). The symphony's first movement is a robust sonata form,
with a questioning harmonic structure.

The Sinfonietta, dedicated to Arthur Bliss, was composed largely in Radnorshire in 1944, both in the
studio Moeran made in the house at Kington which had been his father's retirement home (until his death
in 1943) and during walks over the surrounding Welsh hills. This is a new-classical work in its scoring,
using only two horns, two trumpets and no trombones. The music especially in the outer movements,
is charged with tremendous rhythmic energy (a hint of Portsmouth Point at the start of the final Allegro?),
the sense of urgency being increased by a harmonic idiom which leans towards the bitonal. But the
lyrical Celtic strains of Moeran's musical personality are never far away, (witness the rich, folklike
character of the second subject of the opening Allegro and the long melodic threads woven in the
variations of the second movement).

Overture for a Masque was commissioned by Walter Legge in 1943 for the Entertainments
National Service Association (ENSA), Moeran being one of several composers asked to write music
for performance at concerts for troops during the Second World War. It comes at a time when Moeran
was at a musical peak. Whether or not Moeran deliberately set out to invoke specifics images
memories or thoughts in the minds of his audience, most of whom would be fighting far away with
little chance of seeing home and their loved ones in the foreseeable future it's difficult when
listening to the Overture not to associate almost all of the music with a mental progression of
images. There's even a menacing central section which would perfectly fit a reel of Hitler at
his most menacing before the British boats, planes and troops march in to sort him out...



Music Composed by Ernest John Moeran
Played by the London Philharmonic and New Philharmonia Orchestras
Conducted by Sir Adrian Boult

"Probably no other country turned out such a bountiful crop of minor masters as England
in the first decades of the 20th century. E.J. Moeran was one of the best: his work is finely
crafted, melodically appealing, colorful, and effectively structured, and this is the disc to
own if you only have room in your collection for one sample of his output. The Symphony
in G minor in particular stands with the finest works of the period. Yes, the music is derivative:
of Vaughan Williams, Sibelius, and even Tchaikovsky (the start of the first movement's
development section), but that doesn't matter. It's a terrific listen, and on balance Boult's
is the finest performance of the work.

It has in abundance the qualities for which this conductor was rightly acclaimed: an
effortless feeling of movement, ideal clarity of texture, firm rhythms, and all of this with
none of the ensemble sloppiness that sometimes intruded on his interpretations.
The performance also features Lyrita sonics that remain a touchstone to this day in
terms of naturalness and impact. With by no means negligible couplings consisting of
equally successful versions of the Sinfonietta (a substantial piece with a particularly
imaginative central variation movement) and the Overture for a Masque, this disc is
a classic any way you look at it."
Classics Today http://i1164.photobucket.com/albums/q574/taliskerstorm/p10s10_zpsm61ert7v.gif





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---------- Post added at 12:34 PM ---------- Previous post was at 11:38 AM ----------




No.981
British Light Music

Taken one work at a time, the five works on this disc entitled "Box of Delights", a collection of British light music,
are utterly charming. One might try Phyllis Tate's jazzy, atmospheric London Fields from 1958, with
its delirious xylophone solo in the second movement, or Samuel Coleridge-Taylor's slinky, slippery Valse
de la reine, the third of Four Characteristic Waltzes from 1898, and his sweetly seductive Andante
and Andante molto from Three-fours Valse Suite from 1899, or Granville Bantock's Tchaikovsky
pastiche Russian Scenes from 1898 with its blustery "Cossack Dance", or Cecil Armstrong Gibbs'
Fancy Dress dance suite from 1935 with its soulful "Dusk (Waltz)", or Elisabeth Lutyens' evocatively
colorful En Voyage suite for full orchestra from 1944 with its slyly sensual "Yvette (La Dieppeoise)" - but
unless you're up to date with the dentist, more than one may be more than enough.



Music by [see above]
Played by the London and Royal Philharmonic Orchestras
Conducted by Barry Wordsworth & Simon Joly

"Amidst the excited flurry of the monthly Top Gun Lyrita releases comes this gentler morsel.
But just because it�s not Boult�s Elgar Symphonies or the Coleridge-Taylor Violin Concerto or
the George Lloyds or � well, whatever else it�s not, that doesn�t mean you should pass by.
Here we have a quintet of composers and plenty of relaxed enjoyment. It also qualifies as a
Light Music offering, as the disc�s subtitle makes clear, and given the prodigious number of
genre releases recently that�s no bad thing either.

Nothing over-serious here � just charming fare all round, finely played and conducted.
Try Leaper for another take on Bantock but otherwise banish humdrum days with this
delightful collection."
Musicweb





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No.982
Modern: Tonal

To what shall we compare the orchestral music of English composer Geoffrey Bush (1920-1998)?
Shall we compare it to the individualistic modernism of John Ireland, his teacher, mentor, and friend? Shall
we compare it to the romantic modernism of William Walton, his senior by almost a generation but his
exemplar in form and technique? Shall we compare it more specifically to the music of American neo-
Romantic Samuel Barber, whose School for Scandal Overture stands as the model for Bush's
breezy Yorick Overture; or to the music of Soviet social realist Sergey Prokofiev, whose Third
Piano Concerto provided the material for the rushing climaxes of Bush's brilliant First Symphony;
or to the music of the Czech-French-American internationalist Bohuslav Martinu, whose Sixth Symphony
provided some of the material for the buzzing climax of Bush's colorful Second Symphony?

Or shall we instead take Bush on his own terms like the three conductors and four orchestras on this
1995 Lyrita disc dedicated to his music? Let's. Taken on its own terms, Bush's music could be
described as conservative English modernism, as music full of memorable themes, driving rhythms,
brilliant orchestrations, and, above all, cogent and compelling structures.



Music Composed by Geoffrey Bush
Played by the London Philharmonic and New Philharmonia Orchestras
And the London Symphony and Royal Philharmonic Orchestras
Conducted by Vernon Handley, Nicholas Braithwaite & Barry Wordsworth

"The Overture, Yorick is actually a well-balanced and quite nuanced piece. It is roughly divided
into three parts, the outer sections �with the customary statement, development and
recapitulation of two themes� paints a portrait of the hilarious side of Tommy Handley�s
nature. However, the lovely wistful middle section is perhaps a funeral elegy for the
departed comic. There is no doubt that Bush nods to Prokofiev in this work � including
an allusion to Peter and the Wolf.

I have not heard the Music for Orchestra before, so I rely on Geoffrey Bush�s own commentary
on this work for most of my information. In 1967 the piece was commissioned for the Shropshire
Schools Symphony Orchestra; which still appears to be going strong, although with a new
name. The composer specifies two aims that he had in mind for this piece. The first was to
write a work that presented a �fully worked out musical argument � a miniature symphony
in fact.� His second was to write �a showpiece for orchestra which would give solo opportunities
to the leaders of each instrumental group.�

This Symphony No. 1 took over two years to compose. Bush writes that it was �a slow
and laborious process.� Much time was spent writing and rewriting the music before he
felt it was complete. Ironically he finished the work just 12 hours before the birth of his
son � so no doubt he was free to do the chores round the house and look after mother
and child!

The First Symphony resides in a totally different sound-world to that of the earlier Yorick
Overture. Yet as a contemporary reviewer remarked, �[It is] a sane work that refrained
from making heavy weather with modern anxieties.�

I must confess that I not so sure of what to make of the Second Symphony � The Guildford.
The history of this work is that it was commissioned as a part of the 700th anniversary of
the granting of a Royal Charter to the city of Guildford. It was first performed in November
1957 by the Guildford Municipal Orchestra with the composer on the rostrum. I was
unable to find any contemporary reviews of this work so I am not sure what the audience
and the pundits made of it. However it did not regularly appear at symphonic concerts
over the years and was not broadcast until the late nineteen-eighties."
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No.983
Modern: Neo-Romantic

Of the English modernist composers who came of age after the First World War, Arthur Bliss
has been less well served on record than he deserves. His major works -- Morning Heroes, A Colour
Symphony, and the four great ballets -- have received few recordings. Even Bliss' warmly lyrical
and instantly appealing Music for Strings has had few recordings. The Meditation on a
Theme by John Blow contains some of Bliss' most varied and rhythmically bracing music.
The final work here is A Prayer for the Infant Jesus in the only recording yet made at the
time of release, by Philip Ledger and the Ambrosian Singers. Scored for women's
voices, the work is starkly beautiful and Ledger and the English choir deliver a wonderfully moving
performance that could win Bliss new advocates among the English cathedral set.



Music Composed by Sir Arthur Bliss
Played by City of Birmingham Symphony Orchestra
With the Ambrosian Singers
Conducted by Hugo Rignold & Philip Ledger

"The three movement Music for Strings is generally a dark and serious score with dense
textures that are brought out superbly by the CBSO...in the closing movement the
CBSO manage to discover an innate sense of mystery that at times borders on the
sinister. Bliss�s attractive Meditations reminded me of the dramatic and opulent sound
world of Ravel�s Daphnis et Chloe. The Finale has an impressive heroic central section
that could easily serve as the conclusion to a great symphony. The quality of the
performances and excellent sound make this Lyrita disc a most attractive proposition."
Musicweb





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No.984
Modern: Neo-Classical

Equally likely to please knowledgeable fans of English orchestral music and those who know only
"Greensleeves" and "Land of Hope and Glory", this collection of divertimentos and sinfoniettas by
English modernists is a sure-fire winner. There is a surprising range of musical variety: Tippett's
Divertimento is supple and sinewy, while Rawsthorne's is lighter in sound, but tougher in
aesthetic; Britten's Sinfonietta has a sly irony that contrasts with Berkeley's straightforward
sincerity and Arnold's lightheartedness. In Arnold's Sinfonietta, the London Philharmonic under
Braithwaite sounds much perkier than usual, and one gets the sense they are thoroughly enjoying
This disc is an outstanding addition to the English discography.



Music by [see above]
Played by the English Chamber and London Philharmonic Orchestras
Conducted by Norman Del Mar & Nicholas Braithwaite

"I am not sure that Tippett's Divertimento has ever sounded as bright-eyed and eager.
This is the most vibrant-sounding clamorous recording it has had. Norman Del Mar was a
magnificent conductor and a long-time collaborator with Lyrita - note his 1965 recording of
Bax 6 which was reissued last month [review]. As for Tippett�s music it is here given to uproar,
resilience and poetry. You might link the first and third movements with the bustle of Moeran's
Sinfonietta. The fourth of the five movements has some typically sprung Tippett cross-rhythms
as well as a certain weightiness. The finale likewise demonstrates clamorous rhythmic vitality.

After the gloriously grating cross-cut of Tippett Rawsthorne's slightly vinegary lyrical melancholy
makes for a distinctive style change. There's no mistaking the Rawsthorne voice. After a
haunted little Lullaby comes a flickering and bustling-busy jig. The whole thing is over in the
span of a typical concert overture. It was written for and dedicated to Harry Blech who
premiered it with his London Mozart Players.

Then come three sinfoniettas. The Britten is from 1932 and is dedicated to his teacher, Frank
Bridge. It's a densely inventive piece which bristles with imaginative strokes. I particularly
noted the chilliness as well as the English pastoral edge of the central Variations. The shiveringly
Sibelian Tarantella flies along lickety-split with Del Mar driving his orchestra in sprint mode.
This is not quite the mature Britten but it is fascinating.

Berkeley's Sinfonietta is from 1950. It is in two movements of which the first is typically
springy, lithe and boisterous rather like the Serenade. Only in the combined Lento allegro
is the mood more ambivalent and ultimately haunted before a racy flightiness links the
listener back to Tippett. This brings the proceedings to an end but not before a final gracious
sigh (7.37)

The final work is the Arnold First Sinfonietta - there are three all conveniently recorded on
EMI. It is the most approachable of the five works here although Nicholas Braithwaite is by
no means the most beguiling advocate of this beguiling music. While Arnold's singing soul
is there the results could be even more lissom and even more fetching. The bracing allegro
con brio goes with a good swing."
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No.985
Modern: Tonal

Malcolm Williamson (1931-2003) was a multi-talented musician; he was not only a first-rate pianist �
as he demonstrates in his playing of the Piano Sonata No.2 on this CD � and organist, but was also a
composer who was successful in writing for children, films, opera, orchestra, voice and chamber ensembles
in a number of styles. A troubled man, particularly towards the end of his life, he also got a reputation for
failing to deliver on time, mainly due to the late completion of a work as part of his duties as "Master of the
Queen�s Music(ke)".

Written in 1957 as a memorial to Gerald Finzi, the the Piano Sonata No.2 was commissioned by the
Cheltenham Festival Society and first performed in that year by Robin Harrison. It is a knotty work,
seemingly atonal at first acquaintance, and needs a good deal of effort by the listener to gain access
to the idiom Williamson chose to use. A tough work, it uses the full range of the keyboard. The first
movement is acerbic and runs into the second, a threnody. The short finale is fast and rhythmic,
tying up the ideas of the first two movements and ending with an outburst of joy. This recording first
appeared on an Argo LP devoted to British composers playing their own works for piano.

Championed to publishers by Sir Adrian Boult and Benjamin Britten, Williamson started getting
numerous commissions. Santiago de Espada on the theme of St James, patron saint of Spain,
was first performed by the London Philharmonic and Boult at a private concert in 1957. It is a very
accessible work, much in the shape of an overture by Walton, with a sweeping melody in the middle
section.

At the same concert the First Symphony was also aired. The title, "Elevamini", comes from
Psalm 24 and means �Be ye lifted up�; the work was written as a result of the death of Williamson�s
grandmother, and, with its original ideas, is a remarkable achievement for the young composer.
The first movement concerns the alert to the arrival of a new soul to Heaven, brass chords
followed by a meandering melody picturing the soul�s migration. After a funeral march, the
brass chords reappear to announce the arrival. The second movement concerns the joy at
that event, alternating with a benediction-like motif, while the finale, the soul�s acceptance,
at the end dies away to infinity and everlasting life.

The Sinfonia Concertante also has three movements, each with a religious title, and was
originally to be Williamson�s second symphony. The first movement, 'Gloria in excelsis Deo',
begins forcefully with trumpet chords and a chant from the piano, becoming rhythmic and
energetic, led by the strings. 'Salve Regina' is written in the shape of an arch, most beautiful
in its moments of quiet contemplation. The finale, 'Gloria Patri', consists of a sparkling rondo,
followed by a lengthy epilogue which ties together earlier episodes before concluding with
hope and brio. Truly, this is a work crying out for more performances.



Music Composed by Malcolm Williamson
Played by the Royal Liverpool Philharmonic Orchestra
With Malcolm Williamson & Martin Jones (piano)
Conducted by Sir Charles Groves

"The opening Santiago de Espada Overture is a cracking example of its genre, combining
Waltonian ebullience and nobility within Williamson�s personal musical language. Its absence
from regular concert programmes is to be regretted.

The Symphony No. 1 (Elevamini) also dating from 1957 is much more serious fare. It was
written following the death of the composer�s grandmother and opens with a sequence of
grinding chords which recur at key moments throughout the work and which represent the
opening of the gates of New Jerusalem to admit new souls. This is followed by a long
threnody for strings alone, a passage that would not be out of place in a symphony by Karl
Amadeus Hartmann, before the second section of the movement is introduced by hushed
chords on horns and more restless flute figurations. This leads to a slow funeral march,
with sinister throbbing timpani underpinning the texture, building to a recurrence of the
grinding chords. The movement concludes serenely.

The central Allegretto movement that follows provides welcome rhythmic and textural
contrast. Paul Conway in his booklet notes finds a �Coplandesque� quality to the music
here. There is imaginative use of percussion, too, and a general lightness of approach
that is refreshing.

We are back to more serious stuff with the Finale. This contrasts slow moving passages,
including an insistent trumpet call, with faster, dancing figures and rhythmic timpani.
As the movement progresses the distinction between these lessens, and builds the tension
until the final reappearance of the grinding chords that opened the symphony. The work
ends with a quiet, long-held string chord.

As with his First Symphony, the inspiration behind Williamson�s Sinfonia Concertante is
again to be found in the composer�s deeply-held religious beliefs. All three movements of
the work have revealing titles. The opening movement (Gloria in excelsis Deo) is fast
moving and rhythmic and makes several references to the traditional Gloria chant. This is
followed by a contrasting slow movement (Salve Regina) and an ebullient Finale
(Gloria Patri) which features a prominent trumpet part. The threads of the music are
pulled together in a short epilogue."
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No.986
Modern

Robert Still (1910-1971) is remembered partly through these Lyrita recordings of two of his
four symphonies. Born in London and educated at Eton and Trinity College, Oxford, Still continued his
education at the Royal College of Music where he was taught by, among others, Gordon Jacob. After a
short spell teaching at Eton College, he became conductor of Les Ballets Trois Arts Company; war service
saw his declining a commission and he soon went into the Royal Artillery travelling orchestra, where
colleagues included Manoug Parikian and Cecil Aronowitz. After the war, Still, comfortably off, devoted
himself to composition. The Third Symphony (1960) is thought to be his magnum opus; it was
dedicated to Sir Eugene Goossens who thought very highly of it. It was the last music Goossens
conducted before his death, which occurred less than a month after this recording was made. Still�s Third
Symphony is in three movements. The first grabs the attention with brass fanfares, wonderfully
produced by here the London Symphony Orchestra�s trumpets, horns and trombones. The second, slow,
movement conjures up visions of English rusticity, warmly directed by Goossens; the finale is energetic
and confident, again with much for the brass to do, ending with a big finish together.

The Fourth Symphony (1964) is in a single movement and resulted from Still�s other great
passion than racquet games, a deep interest in psychoanalysis. Inspired by the case history of a young
man presented to the Imago Society by Dr Charles Rycroft, the music describes his feelings of persecution
and the treatment. There is no programme as such, and the music is quite capable of standing on its
feet without resorting to this crutch. The score certainly has its internal battles, with ideas building
up and then being dissipated. Towards the end, the mood alters to one of resignation, the ending
dying to nothing after a couple quiet rolls on the timpani. Myer Fredman, who had become a friend
of the composer, conducted the concert premiere and this recording.

Humphrey Searle (1915-1982) also studied with Gordon Jacob, but it is the period when he
studied privately with Anton Webern in 1937-38 that had the most influence on his writing. After
working as a producer at the BBC from 1938 to 1948, Searle became in 1951 music advisor to Sadler�s
Wells Ballet, taught at the Royal College of Music and was an energetic member of both the Society for
the Promotion of New Music and the Composers� Guild.

The Second Symphony was born in tragic times; begun in 1956 and completed in March 1958
the work is dedicated to his first wife, Lesley, who had died of cancer on Christmas Day 1957. In the
opening Maestoso, the 12-note series is presented for the first time, and the first movement proper
develops into a somewhat ill-at-ease urgency. A more relaxed second subject provides contrast to this,
and the two ideas work together very successfully. The slow movement evokes night music, celesta
and high strings accompanying the birdcalls made by the wind soloists. The finale follows without a
break, reintroducing material from the first, but is developed towards a confident and forceful
conclusion.



Music by Robert Still & Humphrey Searle
Played by the London Symphony, Royal Philharmonic and London Philharmonic Orchestras
Conducted by Sir Eugene Goossens, Myer Fredman & Josef Krips

"Encountering Humphrey Searle�s music is like stumbling across a Wyndham Lewis
painting in a British art gallery among all those twee idylls: art with its ears turned
to tomorrow. But his Second Symphony catches Searle during an awkward moment of
transition. He had yet to reconcile serial composition with his desire to compose symphonies.
Searle had studied 12-tone composition with Anton Webern, but in the 1950s writing
symphonies is what weighty, significant British composers felt they ought to be doing, I guess.

The dilemma: serialism opens channels into structural labyrinths that are alien to traditional
symphonic rhetoric. Searle�s masterful Third, Fourth and Fifth symphonies solved that
undermining problem by gradually pushing conventional form to the margins, defining
a structure specific to each work. The Second attempts to graft serial workings-out onto
the contours of tonal music. Some of the material is magnificent. The harmonic spectrum
outlined in the opening moments is rich in possibility. The pacy finale touches harmonic
ecstasy. But Searle�s dogged determination to make this a symphony � contrived recapitulations,
strangely incongruous cadences and second-hand gesturing � suffocates the open-ended potential
of his material.

Alun Francis�s 1995 performance (CPO) was a workmanlike and slick but Joseph Krips and
a well drilled LPO in 1973 offer something more soulful. The two symphonies by Eton music
master Robert Still are core Lyrita territory but it�s dispiriting to find a composer seriously
peddling stuffy cod-Elgar in 1960 and �64. Hearing these works confirms that Eton�s greatest
musical legacy is another Humphrey: Lyttelton."
Gramophone





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No.987
Modern: Neo-Classical/Neo-Romantic

On this Lyrita disc at least, Elizabeth Maconchy comes off like a genuinely great composer.
The supple strength of her Overture, Proud Thames from 1952, the rugged integrity of her Symphony
for Double String Orchestra from 1953, the lyrical austerity of her Serenata Concertante for Violin
and Orchestra from 1962, and especially the sublime objectivity of her late Music for Strings from
1983 all speak with a highly articulate and deeply individualistic voice that sounds nothing like her teacher
Vaughan Williams and even less like any other English composer. Indeed, every work here sounds like
nothing so much as great music - superbly crafted, seriously considered, intensely expressive, and
passionate. This disc is an excellent introduction to the composer.

For another album by Elizabeth Maconchy, see No.329 (Thread 121898).



Music Composed by Elizabeth Maconchy
Played by the London Symphony and London Philharmonic Orchestras
With Manoug Parikian (violin)
Conducted by Vernon Handley & Barry Wordsworth

"Elizabeth Maconchy received her most significant musical training in Prague, and she cites
Jan�cek and Bart�k as her strongest influences. You can hear hints of both composers in her
Symphony for Double String Orchestra (1953), particularly in the music�s tricky rhythms and
spicy harmonies. However, as the piece progresses, and especially in the last movement,
you can tell that Maconchy also studied her share of compatriot Benjamin Britten�s works.

The title Music for Strings (1983) would seem to indicate Bart�k as a prime model, and
indeed Maconchy so strongly emulates the Hungarian composer�s witty, acerbic style that
the piece sounds more like an homage than an original composition. However this in no
way diminishes our enjoyment of the music.

Finally, the symphonic poem Proud Thames, the first work on the disc, also is the earliest (1952),
even though it sounds to be of recent vintage. This is due to the quasi-minimalist repetition
toward the end, while the darkly playful interplay of brass and strings evoking the rushing
river recalls Libby Larsen�s Water Music Symphony. Proud Thames also is the freshest and
most engaging piece on the program. The performances are all excellent, with Vernon
Handley leading Proud Thames, the Symphony, and the Serenata with the London
Philharmonic and London Symphony, while Barry Wordsworth conducts the London
Philharmonic in Music for Strings. The recorded sound is up to Lyrita�s usual high standard."
Classics Today





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Thank you for sharing these!

No.988
Modern: Tonal

This Lyrita issue is a highly valuable addition to the English symphonic repertoire.
Havergal Brian's Sinfonia Tragica dates from 1948, and is fact, a reworking of
the prelude to the projected opera, Deidre of the Sorrows. Scored for standard forces
plus a lot of percussion, it is a compressed and prophetic work set within a perfect three-in-one
design full of dramatic overtones. Symphony No.16 was written in 1960, and by this time
Brian's language had become even more succinct and terse. The symphony runs for just under
18 minutes but the argument is never lacking in power and angst so reminiscent of the early
1960's.

Following hard on the same label's recording of Arnold Cooke's First Symphony, is
this Third Symphony by the same composer. Although his melodic and harmonic idiom
shared plenty of characteristics with those of Hindemith, Cooke always favoured economy and
clarity and his dislike for great theatrical displays is always very evident, especially in his symphonic
output. This symphony has many arresting moments and is one of this composer's finest works.



Music by Havergal Brian & Arnold Cooke
Played by the London Philharmonic Orchestra
Conducted by Nicholas Braithwaite & Myer Fredman

"Here again at last is the first fully professional recording of the music of Havergal Brian:
Myer Fredman and the London Philharmonic's Lyrita coupling of his Sixth and Sixteenth symphonies.
When first released on LP in 1973, listeners did not know what to make of it. And who can blame
them? A prot�g�e of Elgar and contemporary of Vaughan Williams, Brian's music sounds like
nothing else in English music, or in any other music, for that matter. Tonally oriented, Brian's music
is relentlessly contrapuntal. Colossally scored, Brian's music is interrupted by flashes of intense
silence. Dramatically motivated, Brian's music is shattered by moments of total stasis. Though some
listeners found it uncompromising and incomprehensible, others found his Sixth as compelling a
work as had been composed in the genre since the death of Mahler and his Sixteenth as unique a
work as had ever been composed by anybody ever.

Reissued here on CD coupled with Nicholas Braithwaite's recording of Arnold Cooke's Third Symphony,
Fredman's Brian performances still sound great. How he could possibly have known how Brian
goes is anyone's guess, but go Brian's music does in these performances. Fredman controls not
only the three movements in one form of the Sixth, but the six movements in one form of the
Sixteenth by keeping close watch on tempo relationships and by never losing concentration no
matter how convoluted the musical argument. With the London Philharmonic's first-rate playing,
Fredman makes Brian's music sound absolutely inevitable and completely convincing. Assuredly
not for everyone, those who do get Brian will find his music compulsive listening.

In context, Cooke's Third comes off as much more conventional. A half-hour-long, three-movement
work with two fast Allegro movements enclosing an expansive Lento, Cooke's Third recalls Hindemith
in its harmonic language and Walton in its rhetorical lyricism. But though more conventional,
Cooke's work is still full of expressive themes, cogent forms, and persuasive forms, and Braithwaite
and the London Philharmonic do the Third justice. As was standard with Lyrita, the stereo sound
is clear, clean, cool, and colorful."
All Music


Arnold Cooke.



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No.989
Modern: Neo-Romantic/Impressionist

The slow movement of Arnold Bax's Sixth Symphony, and perhaps also the bulk of the first
movement, had begun life as part of a Viola Sonata that Bax had started writing in 1933. He soon realised,
however, that the material was more suited to orchestral treatment, and the symphony was completed in Morar,
on the west coast of Scotland, on 10th February 1935. It was originally dedicated to the Polish composer Karol
Szymanowski, whom Bax had met in England, but his name is crossed through on the manuscript and replaced
by that of Adrian Boult.

The first movement opens with a prelude in which a repeated figure in the bass provides the accompaniment
to a march-like theme on horns and woodwind. The turbulent Allegro, which follows a series of grandiose chords,
is based on the preceding material and eventually gives way to a slower section with a new theme played by
three flutes in unison. The fast music resumes for a stormy development section, followed by a brief respite
before the movement rushes on in a whirlwind to its emphatic ending, like the slamming of a door. The slow
movement is founded on two contrasting ideas: an expressive melody first heard on strings, and then a soft
trumpet theme with a �Scotch snap�, characteristic of Scottish folk-music. Development of this material culminates
in two march-like sections, the first harsh and baleful, the second a calm, stately procession leading to the
peaceful coda. The tripartite finale (Introduction, Scherzo and Trio, and Epilogue) is the only one among Bax�s
symphonies to open quietly. The solo clarinet�s sinuous melodic line, from which the movement grows, is
repeated by the strings, now with accompanying harmonies, before the woodwind announce a new theme of
a liturgical nature, very similar to the �Sine Nomine� melody in Vaughan Williams�s later Fifth Symphony.
At the end of the Introduction the pace gradually quickens, leading into the Scherzo, in which the opening
material is now transformed into a kind of symphonic jig full of nervous energy. Contrast is provided by a
slower section (the Trio), after which the Scherzo resumes its headlong course with an inflexibly rigid rhythm.
A strikingly dramatic moment occurs with the horns braying furiously and the strings above them singing
out a theme taken from Sibelius�s Tapiola, a work that had reduced Bax to tears when he first heard it. (The
two composers� admiration was mutual: in acknowledging the dedication of Bax�s Fifth Symphony, Sibelius
called him �one of the great men of our time�.) There is a tremendous climax, with the liturgical theme blared
out triumphantly by the brass, and this leads to the peaceful Epilogue, in which the clarinet�s enigmatic
opening music is transformed by the solo horn into something of exquisite beauty set against a backdrop
of rippling harp and divided strings. The musical texture becomes gradually sparer and the movement
fades slowly away, bringing to a close what some regard not only as Bax�s symphonic masterpiece but
as one of the finest symphonies from the twentieth century.



Music Composed by Arnold Bax
Played by the New Philharmonia & Royal Philharmonic Orchestras
Conducted by Norman Del Mar & Vernon Handley

"Here�s yet another valuable reissue from Lyrita�s vaults. Norman Del Mar�s pioneering 1966
account of Bax�s Sixth Symphony has held up extremely well. Occupying an interpretative
middle ground between the thrilling thrust and narrative coherence of Vernon Handley�s much-
praised recording (part of his Gramophone Award-winning Bax cycle for Chandos, 12/03) and
the colourfully expressive languor of Bryden Thomson�s, Del Mar may be the most satisfying of
the lot. Like Handley, Del Mar makes sense of the symphony�s unusual structure (the finale is
a fierce scherzo positioned between a dark introduction and elegiac epilogue) while allowing
one to savour more of the details. The result remains the most emotionally potent on disc.
Note, for instance, how warmly the New Philharmonia strings sing their opening cantilena
at the beginning of the slow movement. And although he is not as graceful as Handley, Del
Mar brings far more character and incident to the finale�s scherzo section.

The CD is rounded out with shorter works performed by Handley and the Royal Philharmonic,
including a succinctly passionate, though somewhat rough-edged, reading of the atmospheric
Irish Landscape (1913). The conductor�s recording of the Rogue�s Comedy Overture (1936),
on the above-mentioned Chandos set, is slightly more frisky than this one � but only slightly.
And while I would not place either the Overture to Adventure (1936) or the Overture:
Work in Progress (1943) in Bax�s top drawer, both are attractively vivacious and
dispatched with �lan."
Gramophone





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No.990
Modern: Tonal

Arthur Benjamin (1893-1960) wrote the Jamaican Rumba - but don't hold it against him.
Once one of the most instantly recognizable tunes in the British Commonwealth of Nations, the Rumba's
extraordinary success quickly damned Benjamin in the eyes of critics who condemned even his serious
works as the product of a musical lightweight. This 2007 Lyrita release may go some way toward
redeeming Benjamin's reputation. Although half the disc includes works that would have to be called light -
Overture to an Italian Comedy, Cotillon, A Suite of Dance Tunes, and especially the North American
Square Dance Suite - the other half features a work that would have to be called serious -- the 45-minute,
four-movement Symphony (No.1 of 1). Always brilliantly scored, infectiously rhythmic, and instantly
attractive, Benjamin's light works cannot help but raise a smile on all but the most hardened critical faces.
And with a sternness, a strength, and a concentration that nearly match the best contemporary English
works in the genre -- Vaughan Williams' Sixth and Alwyn's and Tippett's firsts -- Benjamin's
Symphony cannot help but impress all but his most incorrigible foes.

To film music fans, Arthur Benjamin will certainly be best remembered for the miniature cantata
The Storm Clouds that plays such a pivotal role in the finale of both versions of Alfred Hitchcock's
"The Man Who Knew Too Much" (And no, Bernard Herrmann did not re-orchestrate it for the second).



Music Composed by Arthur Benjamin
Played by the London Symphony, London and Royal Philharmonic Orchestras
Conducted by Barry Wordsworth, Myer Fredman & Nicholas Braithwaite

"The disc of orchestral music by Arthur Benjamin (1893-1960) draws on two vinyl miscellanies
and also features two previously non-issued performances. As Calum MacDonald points out in his
extensive note, Benjamin suffered from his ongoing success as a composer of light music (not least
Jamaican Rumba) � to the extent that his concert works and operas never really established
themselves. The present issue gets the balance between 'light' and 'serious' right. It opens with
the sparkling Overture to an Italian Comedy (1936), incisively directed by Myer Fredman, and
continues with Cotillon, A Suite of English Dances (1938) that reveals Benjamin as the equal of
Respighi when it comes to presenting music from the past in an entertaining modern context.
Nicholas Braithwaite is fully responsive to its wit and whimsy, while Barry Wordsworth is equally
convincing in North American Square Dance Suite (1951) � a collection of 'settler' tunes that
contrasts such as the plaintive 'He piped so Sweet' and wistful 'Calder Fair' with livelier numbers
such as 'Fill the Bowl' and 'The Old Punk' (which prompts the thought that, as pictured on the
booklet cover, Benjamin bears an uncanny resemblance to the late Joe Strummer!). The most
substantial work here is the Symphony that Benjamin composed in the last months of the
Second World War and which enjoyed several outings between 1948 and 1954, only then
to languish until recent years. MacDonald reckons to the influence of Mahler as well as the
more expected one of Sibelius, but an even more potent model is surely the Fifth Symphony
of Prokofiev � completed and premiered just months earlier, whose presence is palpable in
the spaciously conceived and densely textured first movement (marked Largo-Allegro, though
the introduction is not marked off as such and the movement as a whole unfolds at a
decidedly moderate tempo), as well as the lyrical intensity of the Adagio appassionato �
with its alternating of the elegiac and ominous, and a coda of notably resigned calm.
Between them comes a spectral scherzo of real subtlety and finesse, and the work ends
with an extrovert finale that likewise makes imaginative use of tuned percussion on its
way to the triumphal restatement of the symphony's initial 'motto' and a brusquely
affirmative conclusion."
Classical Source





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Thanks for the Elizabeth Maconchy. I download anything by women composers.

No.991
Modern: Neo-Romantic

Born in Wales in 1906 and educated at the Royal College of Music in London, Grace Williams has the distinction
of being one of Ralph Vaughan Williams' two favorite female students. The disc opens with one of her two best-known
pieces, the Fantasia on Welsh Nursery Tunes from 1940, a bright and bouncy single-movement work with big
tunes, brilliant colors, and lots of percussion. This is followed by the four-movement Carillions of oboe and orchestra
written in 1965 and revised in 1973, performed here by soloist Anthony Camden, a tenderly lyrical pastoral with
an underlying seriousness of purpose. After that comes the four-movement Penillion for orchestra from 1955,
which features several attractive themes, among them the stirring trumpet tune from the opening Moderato cantando,
along with strong contrapuntal writing in the Andante con tristezza. Next to last is the three-movement Trumpet Concerto
from 1963 performed here by soloist Howard Snell, a small-scale but appealing addition to the instrument's repertoire
of works with orchestra. And at the program's end is Williams other best-known piece, the five-movement Sea Sketches
for string orchestra from 1944, a moody and evocative work with bold colors and driving rhythms.

A second album with works by this composer on Lyrita can be found at No.689 (Thread 121898).



Music Composed by Grace Williams
Played by London Symphony, Royal Philharmonic & English Chamber Orchestras
With Howard Snell (trumpet) & Anthony Camden (oboe)
Conducted by Sir Charles Groves & David Atherton

�It is good to have this attractive programme of works restored to the catalogue,
all by a woman composer who (rarely among twentieth-century female musicians)
glowingly shows that she believes in pleasing the listener's ear...This CD is surely
an ideal representation of the composer at her most appealing.�
Penguin Classical Guide





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No.992
Modern: Tonal

Welsh composer Alun Hoddinott (1929-2008) had had a remarkably prolific career; by 2007, his opus
numbers nearly reached 200 and his works span most genres - symphonic, chamber, keyboard, choral, vocal,
and opera. His musical language uses a freely tonal vocabulary and tends to be lyrical (without being strongly
melodic), his orchestration is ingenious, and the tone of his work is often dark and brooding with a high sense
of drama. Those elements characterize the three symphonies recorded here, which were written between 1962
and 1972. They are skillfully and inventively crafted and have engaging moments and striking details, and they
require repeated hearings for their felicities to become more easily apparent.



Music Composed by Alun Hoddinott
Played by the London Symphony & Royal Philharmonic Orchestras
Conducted by Norman Del Mar, David Atherton & Sir Andrew Davis

"The Second Symphony, expectedly, has a more youthful feel than the other works on this disc.
The opening of the first Adagio movement has all of the forceful nature which can be found in the other
works � just try switching back to it after hearing the close of the Fifth Symphony. The music has
however, in general, a softer, more romantic feel to it than the later works. The defiant gestures are
there of course, but with a kind of restraint � less blisteringly confident somehow. The second Allegro
molto can�t help sounding a little like Shostakovich now and then, with its dashing winds and accents
of tuned percussion. Stravinsky gets a little look in at the opening of the third Molto adagio movement,
and there are some moments of Hindemith-like thematic gamesmanship in the final movement.
This is not to say that this symphony is in any way a stylistic mish-mash, just that Hoddinott�s true
voice is still tinted with shards of the past, aware and respectful of his near-contemporaries, while
at the same time elbowing them aside with a powerful individuality.

Symphony No. 3 begins darkly, bass lines being shadowed with piano resonances added to the
orchestral palette, whose percussion-rich sound is immediately more adventurous than that of the
second Symphony. Whereas the Second Symphony was a conventional four-movement piece, this
Third is in two movements, each divided into slow-fast, fast-slow tempi. Sonorous dissonances
and resonant cluster-like chords inhabit the opening Adagio, and one can feel Hoddinott�s real
voice is coming through. The following Presto is equally bass-lead, with menacing chromatic lines
never far away, while winds and percussion drive forward in staccato waves or waving ripples.
The first movement ends unresolved, and the arch structure is emphasised by the impression of
a retrograde movement from this central point. Angular thematic discourse brings us to a point
of unison, after which the mood of the opening returns � elusive, but recognisable, and at times
beautifully expressive.

Hoddinott admits to the influence of �alpine horns, cattle bells and Tuscan mists� in Symphony No. 5,
whose genesis occurred during a summer holiday in Switzerland and Italy. Like the Third Symphony,
it has two movements. The first Allegro sustains an �interrupted passacaglia� through eleven
minutes, the thematic threads being broken by more agitated, rhythmic textures which contrast
with the flow of the passacaglia. The second movement has some thrilling gestures and nuances,
with some gorgeous string moments and strong chorales in winds and brass."
Musicweb





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No.993
Modern: Tonal

Daniel Jenkyn Jones (1912-1993) is often regarded as having been the greatest Welsh composer. His music is marked
by traditional form, some adherence to tonality, and complex meters. His most notable works are his 13 symphonies (in 12
different keys) and eight string quartets. When Jones was young, his family moved to Swansea. His father and brother both
composed; his mother was accomplished at needlework, which, he said, gave him a love for intricate recurring patterns in a design.
He began to compose while he was still a child. Jones took his bachelor's and master's degrees in English Literature at Swansea
University in 1934 and 1939, but he had already won recognition as a composer by receiving the Mendelssohn Scholarship in 1935.
(He had submitted works he wrote even before his college years). He used the scholarship for study travels to Czechoslovakia,
Holland, France, and Germany. His trips to Europe were partly to experience the various cultures there, partly to expand his
talent for languages, and partly to experience music. In the meanwhile, he became part of an artistic group based in Swansea
that included poets Dylan Thomas and Vernon Watkins and the painters Fred Janes and Kerry Richards.

He attended the Royal Academy of Music from 1939, studying viola, horn, conducting (with Henry Wood), and composition.
His interest in numbers and complex patterns led him to begin using recurring metric shifts of a pattern of different measure-
lengths that would repeat. This allowed him to create melodies of rhythmic ambiguity but with an underlying symmetry and
organization. One source of his metrical patterns was nature: he constantly sought to recognize patterns in the environment,
and he kept a microscope so he could look for patterns in plants.

In World War II, the Army recognized his talents as a linguist and cryptographer, and sent him to the top-secret code-breaking
establishment at Bletchley Park, where he specialized in Russian, Rumanian, and Japanese intercepts and documents. Of
necessity he did not undertake any composition -- there was not time for that -- but was able to think about musical
structures and ideas. He said these years enabled him to assimilate all he had learned about music in his travels and studies.

After the war, Jones moved for a year to Cornwall, mostly intending to sketch out ideas and develop his mature style.
He destroyed or embargoed the music he had written before the War. His first major compositions emerged from the
year in Cornwall: his First Symphony (1945) and First String Quartet (1946). After that he returned to Swansea,
where he lived for the rest of his life. Despite not entering the London musical life, he did see his career develop after
he won the Royal Philharmonic Prize for an orchestral work, Prologue, in 1950.

He came to further attention with his score for a famous radio interpretation of Dylan Thomas' Under Milk Wood, which
won the Italia Prize in 1954. After Thomas' death Jones became the trustee of his estate and edited the edition of Thomas'
complete poems. He also wrote one of the first notable biographies of the poet, My Friend Dylan Thomas. Jones has said
that subconsciously there is always an element of Welshness to his music, though he does not often use folk material.
Most of his commissions came from Welsh festivals and organizations.



Music Composed by Daniel Jones
Played by the Royal Philharmonic Orchestra & BBC National Orchestra of Wales
And the Welsh National Opera Chorus
Conducted by Sir Charles Groves & Bryden Thomson

"There has been something of a revival of interest in Daniel Jones's music lately, and I was glad of the
opportunity that this reissue provides to catch up with it. His language is immediately striking: dark,
craggy, strongly dramatic and powerfully vehement. It frowns a good deal, and he has a way of what
one might call 'block orchestration', whole groups or families of instruments being used like thickly
applied pigments, that can lead to densely full textures at times. It is somehow characteristic of him
that in The Country beyond the Stars, a brief cantata on texts by Henry Vaughan, he should choose to
set "The Morning Watch" ("0 joyes! Infinite sweetness! With what flowres and shoots of glory my soul
breaks and buds!") with very full textures and rather earthbound dotted rhythms, while his refusal to
indulge in mere picturesque onomatopoeia in "The Bird" ("The Turtle then in Palm-trees mourns, while
Owls and Satyrs howl") is somehow both admirable in its earnestness and disappointing.

Once on his wavelength, however, there is much to admire here: the tensely expressive lyricism that
Jones can distill from brooding darkness, the sheer resourceful skill of his thematic working, the passionate
eloquence that is sometimes won from this. He is, it seems to me, something of a hit-and-miss composer:
both the Ninth Symphony and the cantata begin well (a striking group of pithy ideas, absorbingly
discussed; a warmly melodious, amply singable hymn) but end disappointingly (the symphony with
what sounds like a sonata movement that never gets beyond the exposition, the cantata with a heavy-
limbed fugue, a glumly inadequate response to Vaughan's ecstatic jubilance). But the dark, urgent
drama of the Sixth Symphony, the lift-off that Jones's brusquely springy rhythms can attain, above
all a sort of hard-won sustained intensity of utterance (the slow movement of the Ninth Symphony is
a good example) make him a genuine symphonist, one whose wrestlings with the form are absorbing
even when they don't quite come off. The performances are excellent throughout; the recordings are
beginning to sound their age (a patch or two of glare) but are perfectly serviceable."
Gramophone





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---------- Post added at 11:56 AM ---------- Previous post was at 11:03 AM ----------




No.994
Modern: Tonal

This disc presents some key examples from Alun Hoddinott�s cogently argued, purely abstract works and
from his series of pieces inspired by literary or visual images. All five pieces demonstrate his acute ear for orchestral
and instrumental sonority, especially in their imaginative use of percussion; they also serve as a reminder of his
love for Baroque forms such as passacaglia and ritornello and interest in contemporary procedures such as
palindromic and aleatory methods.



Music Composed by Alun Hoddinott
Played by the London Symphony & New Philharmonia Orchestras
Conducted by Norman Del Mar & David Atherton

"The disc opens with the Variants for Orchestra written at a time when no composer was immune
from the twelve-tone system. Interestingly Hoddinott adapts it to his own creative needs. He was on
holiday in Italy and movements two, four and six derive their inspiration, according to Paul Conway in
his supporting notes, from the Italian trip weaving in �impressions of the countryside�. The remaining
movements derive from a tone-row, so in effect this is a work in double variation form. In addition
some of the material is related throughout the work. The variants are given classical, Italian titles,
Toccata (a fleeting Scherzo) Notturno (a favourite mood of the composer) and Passacaglia the
harmonies of which can be heard clearly in chords found in the first movement. To crown this formally
complex work we have a double-fugue which somehow contrives rather abruptly to �end on E�. You
are unlikely ever to hear this work live, so this is your only opportunity to get to know one of the
composer�s most ingenious and brilliant pieces. But perhaps the complex form outweighs its
musical interest.

In the work immediately following, Night Music, he developed the nocturnal theme even further.
Hoddinott composed at night - I often felt that he had what my mother insists on calling bags
under the eyes! There are several nocturnal works, for instance the piano Nocturnes of 1956 and
later, and another recorded work The Heaventree of Stars for violin and orchestra. This is the
Hoddinott I most admire, the way he expresses himself through the medium of orchestration.
This is not Bart�kian night music, although there is extensive use of percussion, a Hoddinott trade-
mark, both tuned and unturned, the effect is gained through what Conway describes as �dense
chordal textures� which evoked �initial sensations of darkness�. I find with a work like this that
I never want it to end.

The Sinfoniettas are three movement works but the Sinfonietta No. 1 has, as a second, a Scherzo
which includes within it a slow movement. It opens with a passionate Rapsodia and as ever in his
music Hoddinott�s orchestration is a revelation and must make his work a joy for orchestras to
play. The Sinfonietta No. 3 dates from two years later but as many as sixteen opus numbers further
on. It was written for the now sadly defunct Cardiff Festival of 20th Century music. It follows a clear
three movement pattern. The opening is a brooding Moderato, brilliantly but succinctly analysed by
Paul Conway, the opening material of which is used extensively and economically and re-emerges
in the third. The second movement although marked Adagio comes out in this interpretation as
seeming to be at the same tempo; it has only two ideas which evolve and repeat around a central
climax. Finally there is a skittish scherzo-like Allegro.

The last work on the disc is a real masterpiece and one that has not really been recognised as such.
Based on a passage in James Joyce, the symphonic poem (Hoddinott never uses the term),
The Sun, The Great Luminary of the Universe sets, almost sentence by sentence, a paragraph
(quoted in full in the notes) from �A Portrait of an Artist as Young Man�. It�s an hypnotic vision of
the Last Judgement, with the �moon, blood red� in a passage of wide dissonances opaquely
orchestrated. St. Michael with his � archangel trumpet the brazen death of time� can be heard in
its wild and chaotic great climactic moment. Hoddinott quotes, unsurprisingly I suspect, the
Chorale Es ist genug associated with Berg�s last great masterpiece - the Violin Concerto. The
�Dies Irae� plainchant, so often quoted by Rachmaninov, is also heard. This, and all of the
performances were made under the watchful eye of the composer. Each has the stamp of
authority. In addition with the LSO taking the main brunt of the works one hears them, arguably,
at their very best period under a conductor whose sympathies for twentieth century music
were, and still are, legion."
Musicweb





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No.995
Modern: Tonal

John Joubert�s music is gradually receiving the recognition (in the recorded catalogue at least)
that it richly deserves. The performance of the Symphony No.1 here was released as part of his 80th birthday
celebrations in 2007 and proves it to be both instantly accessible yet also profoundly rewarding on deeper acquaintance.
Joubert contributes his own fascinating liner note and although he rather self-deprecatingly calls it �very much a youthful
work� he also acknowledges that it �represents my coming of age as a composer�. Coming back to the work I am struck
all over again by the compact power and economy of Joubert�s writing. Not that this is dry in any sense but it has control
of its material and avoids the verbosity that afflicts many early efforts at extended composition. Joubert states that
it is scored for a classical orchestra but the presence of heavy brass, piano and percussion assures that the sound
world it occupies is very recognisably post-War British.

You will find Joubert's 2nd Symphony at No.315 (Thread 121898).



Music Composed by John Joubert
Played by the London Philharmonic Orchestra
Conducted by Vernon Handley

"Joubert�s First Symphony is a magnificent piece and one of considerable substance and great expressive strength.
It displays the still young composer�s confidence and mastery. Admittedly, the music is fairly traditional by mid-
20th century standards: �The language bears all the hallmarks both of the tradition I felt I was their heir to and
of my then current enthusiasms�. These words by the composer refer to, say, Vaughan Williams who was such
an important influence on many composers at that time. In addition I have also been reminded of Rubbra,
Alwyn and Walton; none the worse for that. I had not heard Joubert�s First Symphony for a long time, and
I had but a faint memory of it. I was thus delighted to make acquaintance again with a fine work of substance
that has lingered in obscurity for too long. I hope now that we will not have to wait another ten years to have
some of Joubert�s major works available in commercial recordings. This splendid and heartily committed
performance by one of the staunchest champions of British music aptly crowns Joubert�s birthday
celebrations."
Musicweb





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Thank you for sharing this!

A Lyrita explosion, wonderful recordings, some new to me. Biggest thanks wimpel69.

The survey of Lyrita is finished.


No.996
Modern: Neo-Romantic

During the 1970s a survey of major American orchestras revealed that Elinor Remick Warren
was one of the most performed women orchestral composers of the decade. Commissions continued
to come her way and she produced more major works including her Symphony in One Movement
in 1970 and a setting of Carl Sandburg's Good Morning, America! for chorus, narrator and
orchestra.

Unlike many of her contemporaries in the United States and Europe, she never compromised her
musical ideals to experimentation and trends. Warren possessed a passionate romantic soul
and was deeply moved by nature, beauty and the sublime. Her music reflects her inner being
and seems at times to come from a secluded, distant place.



Music Composed by Elinor Remick Warren
Played by the Polish Radio and Television Philharmonic Orchestra
With Efrem Zimbalist Jr. (narrator)
Conducted by Szymon Kawalla



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No.997
Modern: Tonal

Letter to Warsaw is the extraordinary musical setting of one woman’s intimate first-hand
account of life in the grip of the Holocaust. American composer Thomas Pasatieri created
this powerful song cycle in 2003, setting six texts by poet/cabaret artist Pola Braun. Braun wrote
these texts while in the Warsaw ghetto and in the Majdanek concentration camp, where she perished
in 1943. Letter to Warsaw opens a window to the emotional life of all women trapped in the web of
Holocaust tragedy. Braun’s voice of witness ensures that she will not be swallowed up by the
anonymity of history. Through Pasatieri’s music, her words tell a story and remind us that each
victim of the Holocaust was an individual. Letter to Warsaw was commissioned by Music of
Remembrance, a Seattle-based non-profit organization dedicated to remembering Holocaust
musicians and their art.

Three of Pasatieri's symphonies can be found at No.845 (Thread 121898).



Music Composed by Thomas Pasatieri
Played by the Music of Remembrance
With Jane Eaglen (soprano)
Conducted by Gerard Schwarz

[i]"A cantata commissioned by a Holocaust-related organization called Music of Remembrance, [is]
based on the poetry of a Polish cabaret performer named Pola Braun, who had been imprisoned in the
Warsaw ghetto (along with pianist Wladyslav Szpilman, whose story was told in the film The Pianist)
and, later, in the concentration camp at Majdanek, where she eventually perished while still in her early
thirties. Pasatieri composed the work in 2003, and it had its premiere in Seattle in May 2004, with the
same performers appearing here. Although it is scored for soprano and chamber ensemble, I refer to
the work as a cantata, rather than a song cycle, because only six poems are set, with six additional
sections that are purely instrumental, the entirety totaling some 70 minutes. The instrumental ensemble
comprises woodwind quartet, string quintet, trumpet, harp, and piano.

The style of the work is essentially the lyrical, unabashed neo-Romanticism that has been Pasatieri’s mode
of expression all along, with little suggestion of Hebraic inflection, aside from the prevalent use of minor-
key tonality. The song settings are spread unevenly throughout the work, so, for example, at one point
there are three consecutive instrumental sections. These instrumental portions reflect motivic
interrelationships with the vocal sections, and seem to be abstract elaborations of mood. The poems,
sung in English translation, begin with reflections on the contempt in which Jews have been held,
and move on to a nostalgic longing for home, and the universal suffering of mothers who lose their
sons to violence; the work culminates in the dread of inevitable doom, the inconsequentiality of the
individual in the face of mass annihilation, and the senseless refusal to give up hope."
Fanfare





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No.998
Modern: Tonal/Americana

This is the first recording for Naxos by the National Orchestral Institute Philharmonic,
which is composed of elite conservatory students from across the United States and abroad.
The chosen works reflect the richness and variety of the American repertoire. A work of
immense poignancy and power, John Corigliano�s Symphony No. 1 is a commemoration of
friends of the composer who died during the 1980s and �90s. Michael Torke�s
Bright Blue Music evokes rich lyricism couched in the composer�s favorite key
of D major. The suite from Copland�s Appalachian Spring is one of the great,
quintessential American works.



Music by John Corigliano, Michael Torke & Aaron Copland
Played by the National Orchestral Institute Philharmonic
Conducted by David Alan Miller

"John Corigliano was already fifty, and a much acclaimed composer, when the spread of the AIDS
epidemic brought his response in an angry First Symphony. It is an extended work in four movements,
each conveying his feelings from the rage engendered by the loss of loved ones, interspersed with
memories of the happy times they had shared together as young musicians. At times the opening
movement becomes intentionally hysterical and calls for playing that combines ferocity with virtuosity.
In the following tarantella�the Italian dance that follows a fatal bite of the tarantula�the tempo
becomes increasingly crazed as it pictures his friend�s developing madness. Corigliano relates in his
programme note that it was a prophetic event, as he had dedicated a tarantella to him in his Gazebo
Dances composed eighteen years earlier. The following Chaconne is both dark and sombre to reflect
the loss of the cellist, Giulio, a college friend of the composer, the music�s sadness eventually growing
into a Mahlerian death march. That in turn leads to a short poignant and heart-breaking Epilogue as
it evaporates into a solitary cello note. At that point the disc should have ended, but in the most
dreadful and inappropriate piece of programme planning I have ever seen on disc or in the concert
hall, a few seconds later we have Michael Torke�s vivacious and happy Bright Blue Music. The release
then concludes with Copland�s suite from his ballet, Appalachian Spring. Conceived in 1988, the
National Orchestral Institute Philharmonic gathers together, on an annual basis, young international
musicians of outstanding quality as a stepping stone in their career. 2015 must have been a
particularly good year, the quality of their playing, both in solos and ensemble work is outstanding
by any standard, their conductor, David Alan Miller, recognized as one of today�s finest exponents
of American music. Though the disc does not make clear, I gather these are concert performances
in good sound quality."
� 2016 David�s Review Corner





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What a wonderful and endless treasure you share with all of us, dear wimpel69 !!!

My never ending gratitude !!!

:) :) :)

approaching 1000... I cannot thank you enough!

Super share, many thanks wimpel69.

No.999
Late Romantic

Eug�ne (Eugen) d�Albert (1864-1932) was a titan of the keyboard and one of the greatest virtuosi of
his age. A pupil of Liszt, who dubbed the young man �Albertus Magnus�, d�Albert was also devoted to composition.
He wrote nineteen operas which reveal the breadth of his interest in wide-ranging subject matter, as well as the
narrative excitement he could generate. This selection includes the overture to his first opera, Der Rubin,
as well as the rare Das Seejungfr�ulein (The Little Mermaid) which reveals a Wagnerian influence.
Each of the works exudes theatrical self-confidence, skilful orchestration and strong, exciting themes.



Music Composed by Eug�ne d'Abert
Played by the MDR-Sinfonieorchester Leipzig
With Viktorija Kaminskaite (soprano)
Conducted by Jun M�rkl

"These are equally committed performances of music that is not easy by any means. The orchestra
must be able to run the gamut of Wagnerian romanticism to Impressionism and all the interesting
turns of harmony that come along with these musical movements. Markl�s program is well chosen
providing a very good overview of the different stylistic approaches that comprised D�Albert�s music
and showing off its development across his career. Soloist Viktorija Kaminskaite has a gorgeous voice
and it goes through a lot in a piece that has her moving to the far ends of the upper range, those
she manages these beautifully with a great sense of drama. The result is that there is much wonderful
music to discover here that is well worth your attention. The sound is equally well-matched to
create a realistic spacing of the orchestra. Highly recommended."
Cinemusical





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<img alt="new-year-animations.blogspot.com" src="http://2.bp.blogspot.com/-BYLyIusgv5I/VJ_DfWUIuZI/AAAAAAAA_ws/EmRbAnfdnvU/s1600/new-year-animations.blogspot.com.gif" width="160" oncontextmenu="return false;" onselectstart="return false" ondragstart="return false"/> (http://new-year-animations.blogspot.ro/2014/12/colorful-fireworks-new-year-animations.html" target="_blank" title="new-year-animations.blogspot.com"/><img alt="new-year-animations.blogspot.com" src="http://4.bp.blogspot.com/-3Q_QijWJLfk/VJ-33z7D9II/AAAAAAAA_vg/pHfVoerqsqk/s1600/new-year-animations.blogspot.com.gif" oncontextmenu="return false;" onselectstart="return false" ondragstart="return false"/></a> No.1000 <a href="http://new-year-animations.blogspot.ro/2014/12/new-year-fireworks-stars-animated-gif.html" target="_blank" title="new-year-animations.blogspot.com)
Late Romantic

The first edition of Fitzgerald's verse translation of �The Rubaiyat of Omar Khayy�m�
had been on the scene since the mid-nineteenth century. By the end of that century it
had achieved five editions and quasi-Shakespearean status. The quatrains are rich in
quotations � extracts eventually took up multiple columns in the Oxford Dictionary of Quotations.

The subject matter was also daringly anti-religious and must have had an appeal to
the increasingly literate, sceptical, and professional classes. Havergal Brian quotes
Ernest Newman on the subject of Granville Bantock�s Omar: ��it brings into English
secular music, for the first time, the thoughts and feelings of men brought up in the full tide of
modern culture and modern humanism.�

The work is scored for three soloists, a large chorus and a very large orchestra.
The strings are divided into two complete string orchestras, one on either side of
the conductor, a device by which Bantock procured a number of new and subtle effects.
In the first decade of the twentieth century no other secular-philosophical work
existed on such a scale.

Omar was widely performed during the first half of the 20th century, but since
Bantock�s death in 1946, performances have been dependent on anniversaries and
external historic events.

This studio recording was the product of 11 years planning by a single BBC producer
determined to preserve one of the most astounding choral works ever created.
It remains, 37 years later, the only complete recording ever made of the work.



Music Composed by Sir Granville Bantock
Played by the BBC Symphony & BBC Scottish Symphony Orchestras
With Sarah Walker (soprano) & Anthony Rolfe Johnson (tenor)
And Brian Rayner Cook (baritone)
And the BBC Singers
Conducted by Norman Del Mar

"Those who enjoy Bantock�s rather rich late-romantic soundworld will
revel in every bar of this score, which was completed in 1908.
Like the Gothic Symphony by Havergal Brian (who was a huge admirer
of Bantock) it�s one of the monuments in British music that needs to
be heard...Those who want to hear Omar Khayyam in all its glorious
monumentality will need to buy the Lyrita set."
The Guardian, June 2016





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Congrats on #1000! And thanks once again for all your shares!

1000! Exorbitant unbelievable thread. I can not thank you enough for never ending pleasure to listen to all this fantastic music.

VERY DEAR WIMPEL69,

LINKS ALL RECEIVED !!!!!

Billion thanks for all your efforts and endless generosity sharing with us all this GREAT music !!!

:) :) :) :)

All the best, always !!!

Congratulations for No.1000 !
And 1000 'Thank you' for this incredibly marvelous thread !!

Absolutely echo all these comments! Thank you very much indeed - this thread really is a treasure trove.

No.1001
Late Romantic/Neo Classical

Hisato Ohzawa (1907-1953), one of the foremost Japanese composers of the first half
of the twentieth century, studied in the 1930s in Boston and Paris. He had an excellent command
of diverse styles derived from his extensive knowledge of jazz, late Romanticism, Debussy,
Ravel, Bart�k, Hindemith and other contemporary composers. The Piano Concerto No. 3 ‘Kamikaze’
(a Japanese-made civil aircraft of that time, which set a new record for the shortest flight from Tokyo
to London in 1937 - not the suicide fighter plane of WWII!) shares something of the motoric
dynamism of Honegger and Prokofiev. Symphony No.3 (The History of the Founding of Japan),
written in 1937 to celebrate the 2600th Anniversary of the Founding of Japan, leans towards late
Romanticism, Myaskovsky and Roussel.

The second Naxos disc of his music features two works premi�red by the composer in Paris. As with many
of his other works written in the 1930s, the Piano Concerto No.2 combines elements of jazz, impressionism
and Japanese-style melodies. Scored for a large orchestra including triple winds, celesta and a variety of percussion,
the Symphony No.2 has the character of a "Concerto for Orchestra". The highly original second movement is
made up of four independent parts: two arias and two toccatas, played alternately, with each part requiring a
soloist or soloists.



Music Composed by Hisato Ohzawa
Played by the Russian Philharmonic Orchestra
With Ekaterina Saranceva (piano)
Conducted by Dmitri Yablonsky

"This disc is a treat. “Kamikazi”, in case you are interested, means “wind of God” and refers to a civilian
aircraft launched in 1938, and not to the later WWII suicide dive-bombers. Hisato Ohzawa (1907-53)
had a remarkable pedigree. He was a graduate of the New England Conservatory; among his teachers
were Sessions, Converse, and Schoenberg; he later studied in Paris with Roussel and Boulanger, and
the confluence of modernist, French, and American (i.e. jazz) elements is plainly audible in both of the
works on offer here. His return to Japan was not propitious: stylistically he was in advance of the musical
culture of the day, and his sudden death from a cerebral hemorrhage after the war ensured his descent
into musical oblivion.

Nevertheless, he was a fine composer in a style that sounds remarkably like Antheil or Finland’s Einar
Englund. The “Kamikaze” Concerto is much more than that, particularly when the central Andante
introduces the Ravel G major Concerto to Gershwin’s Concerto in F, courtesy of a solo saxophone that
neither of those composers remembered to include. It’s a breezy, beautifully written work full of
memorable ideas (though the ending is shockingly abrupt), and Ekaterina Saranceva plays it extremely
well. Exactly what the Third Symphony has to do with the founding of Japan is difficult to fathom,
despite the presence of some more overtly oriental musical motifs (which never strike the ear as
stylistically incongruous) as compared to the concerto. This is simply a big, colorful, confident
showpiece of the sort that Koussevitsky (a supporter for whom Ohzawa wrote a double bass concerto)
surely would have enjoyed commissioning and performing.

The Russian Philharmonic under Dmitry Yablonsky plays both works very well considering how
unfamiliar they must have been. Yes, the brass sound a touch rough, and there are some moments
of rhythmic unsteadiness in the strings, but the energy of the conducting and the quality of the
music come through loud and (sonically) clear. Without doubt, this is one of the more interesting
and rewarding issues in Naxos’ ongoing exploration of 20th century Japanese classical music.
Ohzawa is a real find."
Classics Today





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No.1002
Modern: Tonal/Wind Band

As with many discs of concert band music, this one features an eclectic and intriguing mix of works
in contrasting styles, three by well-established figures and one by a newcomer. Richard Danielpour
himself hardly needs any introduction. His Icarus from 2009, written for the unusual combination of brass
ensemble, two pianos, and percussion, takes its name from the ancient Greek legend of the boy who, with
his father Daedalus, escaped imprisonment in the labyrinth of King Minos on Crete by means of wings made
of bird feathers and wax, but fell to his death in the Aegean when he recklessly flew too close to the sun and
his wings dissolved. This work is indeed exciting - almost incessantly violent in the syncopated fortissimo
musical motives that constitute most of its content.

The centerpiece and eponymous work on this disc, Eric Ewazen’s Shadowcatcher from 1996, for
brass quintet and symphonic band, is an ambitious four-movement work of almost 35 minutes’ duration.
"Shadow Catcher" is the name that Native Americans gave to the famed photographer and ethnologist
Edward S. Curtis (1868–1952), who in the late 19th and early 20th centuries documented the lives of
more than 80 tribes with over 40,000 photographs and over 10,000 wax cylinder recordings.
Each movement is inspired by a particular photograph. Ewazen, a longtime professor of composition
at Juilliard, is a gifted composer who writes music that remains thoroughly tonal and accessible to
more general audiences without being condescending or slipping into banalities.

Kathryn Salfelder's (*1987) Stylus Phantasticus was commissioned by the University
Symphonic Band and premiered on February 17, 2013. The work’s title refers to a type of free-form
composition found primarily in Baroque organ literature, and here Salfelder employs fragmented elements
of Dieterich Buxtehude’s Toccata in D Minor, BuxWV155, for her thematic material in a Postmodernist
musical pastiche, with a plethora of momentarily interesting effects.

Anthony Plog, a onetime member of trumpet sections in several orchestras in the USA and
Sweden, has been a professor at the Staatliche Hochschule f�r Musik in Freiburg since 1993. Most
of his compositions are for brass instruments, a genre to which he has made significant contributions.
While his overall compositional style remains tonal, taking its point of departure from Stravinsky and
Bart�k, its vocabulary is considerably more dissonant than that of Ewazen. Like Ewazen’s Shadowcatcher,
the Concerto 2010 is also scored for brass quintet and symphonic band. Its four movements, played
without pause, virtually constitute a brief symphony, proportioned similarly to that of Prokofiev’s Symphonie
Classique but with the scherzo in second position.



Music by [see above]
Played by the University of Western Michigan Symphonic Band
With the Western Brass Quintet & Western Winds
Conducted by Robert Spradling

"There are at least three other recordings of Shadowcatcher , and one apiece of Icarus and
Concerto 2010 , whereas Stylus Phantasticus receives its debut recording here. I was unable
to sample all of the alternatives, but compared to those I did hear I would say that the present
disc equals or exceeds them for technical excellence and/or recorded sound. The Western Brass
Quintet consists of faculty members of Western Michigan University; the Western Winds comprise
that quintet along with a few other faculty members and a number of university students.
Both of them and the larger University Symphonic Band are crackerjack ensembles that toss
off even the most difficult passages with carefree insouciance, and they are showcased in
ideally balanced recorded sound. The concert band repertoire continues to expand its footprint
exponentially in the commercial recordings market, and this CD is a particularly fine entry;
warmly recommended."
Fanfare



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No.1003
Modern: Tonal/Americana

The works on this CD represent the rich, imaginative and varied scope of contemporary Black artists'
landscapes and musical horizons. The composers, who represent various voices in style, generation and
compositional approaches contained within the African American artistic experience, handle the
cultural materials in ways that are not only cohesive but eloquent. These efforts further illuminate
the attempt of contemporary artists to broaden, stretch, and expand the languages and forms of the
modern orchestral culture. This partially live recording of the Prague Radio Symphony and Washington
Symphony Orchestra, captures the essence of African American contemporary sacred and secular life
through music. This recording does a great service to what composer T.J. Anderson calls, "the duty of
the composer to document the culture." David Baker's Shades of Blue was commissioned by and
written for the Roanoke Symphony, which premiered it in 1993 under Victoria Bond. The commission
specified an orchestral work with a strong jazz influence but not requiring outside soloists.
Leslie Adams' Ode to Life was commissioned by the Cuyahoga Community College of Cleveland
on the occasion of its 15th anniversary. The composer considers it a "celebration of life itself."
Stephen Newby's Gospel Songs were composed for Willis Patterson. They are really a
compilation of four gospel songs.



Music by George N. Baker, H. Leslie Adams & Stephen Newby
Played by the Prague Symphony & Prague Radio Symphony Orchestras
And the Washington Symphony Orchestra
With Richard Taylor (baritone)
Conducted by Julius P. Williams

"Shades of Blue represents the rich, imaginative and varied scope of contemporary Black artists'
landscapes and musical horizons. The composers, who represent various voices in style, generation
and compositional approaches contained within the African American artistic experience, handle the
cultural materials in ways that are not only cohesive but eloquent. These efforts further illuminate
the attempt of contemporary artists to broaden, stretch, and expand the languages and forms of the
modern orchestral culture.

Videmus has been advocating the work of African American and women composers for over a
decade. With this recording, we are expanding our commitment to this music by presenting our first
orchestral offering. This partially live recording of the Prague Radio Symphony and Washington
Symphony Orchestra, captures the essence of African American contemporary sacred and secular
life through music. This recording does a great service to what composer T J. Anderson calls, "the
duty of the composer to document the culture." This is what we have done in broad, luscious,
diverse and textured shades of the many hues of blue. We are very proud to present to you, Shades
of Blue."
William Banfield, Louise Toppin, and Julius Williams


Baker, Adams, Newby.

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No.1004
Modern: Tonal

R.I.P. Einojuhani Rautavaara (1928-2016)

Rautavaara's Seventh Symphony (Angel of Light) was commissioned by the Bloomington
Symphony Orchestra to celebrate its 25th anniversary in 1995. It completes Rautavaara's 'Angels Series'
which includes the orchestral work Angels and Visitations (1978) and the double bass concerto
Angel of Dusk (1980). Annunciations was composed in 1976-77 for the Stockholm Organ
Festival, and the triple forces required by the instrumentation were proposed by the commissioning
organisation. Its first Finnish performance inspired a critic to write about the Finale that it brought to
mind the Pasolini film in which "drunken noblemen roll around on the keyboard of an organ." The
virtuoso organ part is performed by soloist Kari Jussila at the organ of Helsinki's Finlandia Hall.



Music Composed by Einojuhani Rautavaara
Played by the Helsinki Philharmonic Orchestra
With Kari Jussila (organ)
Conducted by Leif Segerstam

"Leif Segerstam guides the Helsinki Philharmonic through magnificently convincing readings of
both works in the acoustically ideal Finlandia Hall, with the organ soloist, Kari Jussila, doing a
knock-out job in Annunciations. The whole recording is demonstration quality from start to
finish. Don't miss it!"
Stereo Review



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No.1005
Modern: Americana/Tonal

This recording is the long-awaited second release on Albany Records of the famed New England
Conservatory Wind Ensemble. Conducted by Frank Battisti, the Wind Ensemble performs the
significant literature for brass, woodwind and percussion instruments composed from the Renaissance to
the twentieth century. Many of its performances are broadcast over the National Public Radio network.
This disc will be a must for all wind ensemble enthusiasts.



Music by Aaron Copland, William Schuman, Steven Stucky & Charles Ives
And Alan Fletcher & Elizabeth Maconchy
Played by the New England Conservatory Wind Ensemble
With Gunther Schuller (narrator)
Conducted by Frank Battisti


Gunther Schuller.

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No.1006
Modern: Neo-Classical

This album is a companion piece to No.777 (Thread 121898), but this time, a trio of Spanish
and a Mexican composer were inspired by Baroque/Renaissance works.

Ant�n Garc�a Abril - Six Sonatas for Orchestra
Cristob�l Halffter - Tiento de primer tono
Carlos Miguel Prieto - Fandango da Soler
Joaqu�n Turina - Fantasia Sobre



Music by [see above]
Played by the Orquesta Filarm�nica de M�laga
Conducted by Aldo Ceccato



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No.1007
Modern: Tonal

Alan Hovhaness was an Armenian American composer whose music knows no end to experiments with
styles, modes, and even instrumentation. But the core of his work seems to be mystical, as in Symphony 6
Celestial Gate based on a painting by the mystic Hermon de Giovanno. Mountains and Rivers Without
End (1968) was inspired by the Korean landscape and opens with extended sliding passages for the trombone
[which, admittedly, are a little tough to take]. The rest of the music on offer here, too, has been described as
being mystical and you'll find that, especially, in Prayer of St. Gregory (1946) and the Aria from Haroutiun (1948),
both of which also make extensive use of the trumpet.



Music Composed by Alan Hovhaness
Played by the Manhattan Chamber Orchestra
With Chris Gekker (trumpet)
Conducted by Richard Auldon Clark

"The exotic colors of the Far East, the splendor of mountains, and the ecstatic mysticism
of the Armenian church are three themes which have preoccupied Alan Hovhaness consistently for
his long and incredibly prolific career. All these elements are splendidly represented here.
Mountains and Rivers Without End (written in 1968) is subtitled a "Chamber Symphony".
At 25 minutes, it is the longest work in this collection. According to Marvin Rosen's helpful
notes, "it was inspired by a Korean landscape painting". Despite this influence, some of the
music retains a distinctly Armenian flavor. This symphony begins with a characteristic
Hovhaness touch: a downward trombone glissando over pizzicato strings. This glissando
will return again and again as the symphony runs its course, though the effect never
becomes tiresome. Soon, the winds enter softly, creating a distinctly oriental atmosphere.
At 2:13 the bells and the drums produce a gamelan-like ostinato. Over this ostinato, the
trombone intones a motif consisting of three short notes followed by two long ones; these
long notes are joined by a descending glissando. From this point on, the trombone/gamelan
music alternates with the mysterious and vividly colorfsounds of the solo winds in counterpoint,
joined occasionally by the harp. The form is rather like a large-scale rondo. A lively and
enchanting oriental dance for trumpet and xylophone occurs at 13:14.

The remaining works are quite different in sound and character from the above. Each
explores the composer's continuing fascination with the Armenian church. The deeply
moving Sixth Symphony (dating from 1959) was further inspired by a painting of Hermon
DiGiovanno, who encouraged Hovhaness to examine his ethnic heritage. After a brief
introduction by the bassoon with ostinato strings, the clarinet introduces a hypnotic,
gently flowing melody of a religious character that calls to mind – but never actually
quotes – the Prayer of St. Gregory. This simple, yet endlessly fascinating idea comes to
dominate the work. It soon reappears in various guises and colors: oboe, strings, flute,
and solo violin. Contrasting with the unearthly beauty of this theme, a dark and restless
episode occurs about one-third of the way through, which alternates a Hebraic-sounding
melody in the depths of the lower strings with the rushing, freely rhythmic fluttering
of the upper strings. The horn and trumpet then present a moving restatement the main
theme. A sudden dissonance in the lower strings heralds a dramatic proclamation by
the trumpet. Pizzicato strings enter followed by timpani and, eventually, a solo flute.
This moment reminds me very strongly of Sibelius – except, that is, for the quirky,
Middle Eastern character of the melody and its jazzy syncopations. Strings and trumpet
follow with a fresh variation of the familiar clarinet melody, restoring the religious flavor
of the work. The symphony concludes gently, with a touching final comment from the
strings with flute and harp. I guarantee that this music will haunt you for days. "
Classical Net





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No.1008
Modern: Avantgarde/Neo-Romantic

A native of the Jing district of Anhui, Zhu Jianer (*1922) was born in Tianjin and brought up in Shanghai,
teaching himself music as a schoolboy. In 1940 he began to write songs, incidental music and music for wind
instruments, turning in 1949 to the composition of film scores. In 1955 he went to the Soviet Union, where he
was able to take an advanced course in composition at the Moscow Conservatory, completing his studies in
1960, when he returned to China, working successively at the Shanghai Film Studio and the Shanghai Opera,
From 1975 until his retirement he served as resident composer to the Shanghai Symphony Orchestra,
concurrently holding a position as a professor of composition at the Shanghai Conservatory.

The Symphonic Fantasia - In Memory of Martyrs for Truth was completed in 1980 and is a profoundly
philosophical composition. The theme of the introduction sounds like a striking question or exclamation,
suggesting a mood of drama. The oboe announces a simple and meditative principal theme, later developed
by the whole orchestra. Suddenly the brass offer the secondary theme, full of excitement and uneasiness.
The ominous beats of the kettle-drums lead to the development section in which the conflict becomes sharper
and sharper. At the climax the theme of the introduction returns strongly, but unexpectedly the final cry is
interrupted. To the accompaniment of drums the strings sing an elegy. As the music grows calmer, the harp
leads to the primary theme from the solo violin, raising the mood to a level of sublimity from which the music
turns into a passionate paean of the whole orchestra. In the coda the theme of the introduction can be faintly
heard, symbolizing the watchfulness which will remain in the minds of the people.

Sketches in the Mountains of Guizhou, a symphonic suite, was completed in 1982 and first performed
in May that year at the Tenth Shanghai Spring Music Festival under Cao Peng by the Shanghai Symphony
Orchestra, winning the Performance Prize. It is a true record of the impression given the composer by a visit
to the Guizhou mountain areas where the Miao and Dong people live and marks a turning-point in his style.
The suite is in four movements.

Symphony No.4: "6.4.2 - 1", a chamber symphony for bamboo flute and 22 strings, was completed in
May 1990 for the Queen Marie Jose International Composition Competition in which it won the sole Grand Prize.
According to the rules of the competition, the orchestra consists of six first violins, six seconds, four violas, four
cellos, two double basses and a solo wind instrument. The composer uses the Chinese bamboo flute as the solo
instrument, with the soloist using in turn three flutes of different pitches, giving the symphony a very sharp
and specific characteristic. With the four numbers 6, 4, 2 and 1, the proportion of string instruments in the
orchestra, a twelve-tone series is devised, which is also used to control the rhythm. Various traditional
Chinese instrumental techniques are used in the string writing, which also employs percussive effects,
in the absence of percussion instruments.



Music Composed by Zhu Jianer
Played by the Shanghai Philharmonic Orchestra
Conducted by Cao Peng





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No.1009
Modern: Tonal

Widely regarded as one of China�s leading composers, Pulitzer Prize-winning Zhou Long
writes music which is consistently compelling. The Rhyme of Taigu revives the spirit of
Chinese court music from the Tang dynasty (618�907 AD), drawing on traditional percussion
instruments. Symphony �Humen 1839�, co-composed with Chen Yi, vividly commemorates
the public burning of over 1000 tonnes of opium, an event that was to lead to the First Opium
War between Great Britain and China.



Music Composed by Zhou Long & Chen Yi
Played by the New Zealand Symphony Orchestra
Conducted by Darrell Ang

"Music from two of today�s most highly regarded Chinese composers scored for conventional
western symphony orchestra written during the past twelve years. The disc begins not in China
but in Japan, with drumming music Zhou Long composed for a modern Japanese Taiko ensemble,
though such drumming music also had roots in Chinese music back to the sixth century. It makes
for a punchy score for full orchestra where pounding rhythms underline the melodic superstructure
that is essentially in a tonality world. The two famous composers came together in the symphony
Humen 1839, a work composed to mark the public burning of 1000 tons of opium in Human, the
hoard having been seized from British traders, an event that sparked the British-Chinese conflict
known as the First Opium War. It�s four colourfully orchestrated movements are �pictures� related to
that period of Chinese history, and are laid out in conventional western symphonic tradition its central
movements being a scherzo and slow movement, and it is this latter Adagio tragico�depicting the
suffering of the people�that stands out as particularly fine when surrounded by the Hollywood
influenced outer movements. Zhou Long�s ability to orchestrate and to mix tonality, atonality
and traditional Chinese sounds, that creates The Enlightenment, a reflection of Chinese philosophy
of Peace, Light and Love. Without sight of the scores I can only comment that the playing of the
New Zealand Symphony, under the much sought after young conductor, Darrell Ang, carries
conviction, impact and many beautifully played solos�"
David's Review Corner





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Links for Vaughan Williams' "Fat Knight" and Gibbs' "Shorter Orchestral Works" received. Thank you, wimpel69! I am very much looking forward to hearing these!

No.1010
Modern: Tonal

Like Gunther Schuller, his senior colleague at the New England Conservatory and formerly one of his professors at Yale,
William Thomas "Tom" McKinley (1938-2015) played, taught and composed classical as well as popular music.
His popular specialty was jazz, which he studied alongside the masters as a child. By age 12, he was already a member
of the American Federation of Musicians. For two years, he was house pianist at a Pittsburgh restaurant. Then, as he
told an interviewer, "I heard Bart�k's Concerto for Orchestra when I was about 17 [Fritz Reiner's performance] and
said to myself, I can do that." A year later, he enrolled at Carnegie-Mellon University, where he studied piano with
Frederick Dorian and composition with Nikolai Lopatnikoff, all the while supporting his wife and firstborn son by
playing in Pittsburgh-area clubs.

Between sets, he studied the scores of Beethoven symphonies, and during the next six years composed and
taught in addition to performing. In 1966, McKinley entered the graduate program at Yale University; his
principal teachers were Mel Powell and Schuller, and he found himself caught up in serial and electronic music.
When McKinley gave up baseball, he also "stopped writing music I didn't like. I don't know what made me turn
back to myself, to the American pop tunes I grew up with, the jazz -- late swing, bebop, cool, modern -- and
the whole Classical-Romantic background of Tchaikovsky and Brahms that I really love. I think I'm the only
American who has this totally blended background. I let it all come together, eliminating pretensions, all
complexity, everything superficial...filtering out everything I thought was dishonest. This is to me the
prototype of a pure American music." It was the Third Symphony in 1983, one of several commissions
extended by Gerard Schwarz over a quarter of a century, that proclaimed McKinley's return to tonality -
"back to the time-honored principles."

The composer reflects on his Symphony No.5, subtitled "The Irish": "I made two trips to Ireland.
It was really the second trip that inspired the symphony. There were so many inspiring places that I initially
considered writing an elaborate musical travelogue in fourteen movements, but it would have been totally
impractical for this occasion. I eventually elected to write a quasi-traditional three movement work. The first
movement is entitled "Ben Bulben", an imposing mountain that inspired many artists and poets, particularly
Yeats. It has a certain omnipresence, so the music has a mammoth quality. The orchestra uses triple woodwinds
and a very large percussion section. After the grandeur of the first movement, the second one, "Tinkers",
comes as a great contrast like letting in the sun. The tinkers are the Irish gypsies who populate the cities,
the roadsides, and everywhere else. The movement has a feeling of a scherzo. While the first two movements
have a single focus, the third, "The Streets of Dublin", juxtaposes music of various types. Although it is
primarily an impression of a city at night, the music contains a number of surprises."

And on the New York Overture: "I found it easy to imagine, in a single vision, a dramatic overture
cast in a traditional and serious manner. My impressions and memories of New York provided a direct catalyst.
Women into the overture are a number of "hints" derived from well-known melodies which have endured as
popular romanticizations of New York's manifold personality. Rhythmically, the New York Overture aims to
create perpetual motion and movement as a metaphor of what we see and encounter in the streets."

Peter Kelly was a student of McKinley's. His Symphony No.1 is serious and weighty piece.
The style is somewhat reminiscent of the music of Samuel Barber.



Music by William Thomas McKinley & Peter Kelly
Played by the Warsaw National Philharmonic Orchestra
Conducted by Robert Black



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No.1011
Modern: Avantgarde

Wallingford Riegger (1885-1961) may have an undeservedly obscure place in today�s concert scene,
but few people have played such a central role in the maturing of American musical life, and served as a bridge
from Ives to composers active today. As an activist in establishing �independent� American music, Riegger was
a friend and colleague to composers that included Henry Cowell, Charles Ives, Conlon Nancarrow, Carl Ruggles,
Carlos Salzedo, Charles Seeger, and Edgard Var�se. As a mentor to younger composers, he was a teacher of
Robert Ashley, Henry Brant, Michael Colgrass, and Morton Feldman, and a friend to many others, including
John Cage. Riegger used the term �ultramodernism� in describing his work and the movement he was a part
of. His interest in connecting new music to other avant-garde activity led him to collaborate and write music
for some of the founding choreographers of modern dance, including Martha Graham, Hanya Holm, Doris
Humphrey, and Jose Limon. His own political and populist persuasions led him to activity in the 1930s
with a Communist-oriented group called the Composers� Collective.

The composer reflects on the works on this album: "As originally conceived, [the Variations for Piano and Orchestra]
were to be purely orchestral, somewhat in the nature of a symphonic poem, and as such occupied several weeks of
creative effort. However a fugue theme that I had evolved from the original twelve-tone series seemed fairly to clamor
for the keyboard, whereupon I toyed with the idea of turning the work into a piano concerto. What finally emerged
was the present theme and variations, twelve in number, with the above-mentioned fugue serving as (a) coda.

[The Variations for Violin and Orchestra] wer written in the wake of my Variations for Piano and Orchestra,
while I was still variation-minded. It consists of a theme and twelve variations, besides a cadenza. The theme, and
hence the variations are in a compact ternary or three-part song form. In its technique the work is dodecaphonic or
twelve-tone, although certain of the variations have a way of deviating from the strict application of serial technique,
a procedure which I have felt to be justified under the circumstances."

Riegger�s Symphony No.4 is one of the great American symphonies. The work begins with a theme in
the strings evocative of Bart�k, a theme which starts darkly and opens up, as if light coming through clouds.
Throughout the work, Riegger�s use of meter and rhythm is deceptively simple, yet is propelled with great and
insistent energy by counterpoint, iteration, and additive process. Here again, Riegger�s orchestration is spectacular,
with a wide palette of color and chordal sonority. In Riegger�s music, chromatic freedom finds itself singing with
a wide and generous fluidity. He indeed created a new, ultramodern, American music, in which the dictates of
serialism were freely modified with tremendous expressivity and imagination.



Music Composed by Wallingford Riegger
Played by The Louisville Orchestra
With Sidney Harth (violin) & Benjamin Owen (piano)
Conducted by Robert Whitney





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No.1012
Modern: Neo-Romantic

Swiss composer Volkmar Andreae (1879-1962) was in his day one of the leading conductors in
Central Europe. As conductor of the Zurich Tonhalle Orchestra he dominated Swiss music life for almost
half a century, while he was one of the first men anywhere to champion the symphonies of Gustav Mahler.
But his real gift lay in composition. His early style was influenced by Richard Strauss, but his music soon
developed its own brand of late Romanticism. By turns exuberant and melancholic and always sumptuously
orchestrated, Andreae�s music is a major rediscovery. This CD unites the major orchestral works of his
maturity, including his only Symphony. In later years he focused more on conducting and ever
less on composing. But this CD leaves you wishing it had been the other way round.



Music Composed by Volkmar Andreae
Played by the Bournemouth Symphony Orchestra
Conducted by Marc Andreae

"Despite coming at the end of the Great War, and regardless of what the avant-garde of that period
was up to, the four-movement Symphony, though not particularly profound, is a memorable, uplifting
work of far and wide appeal: entirely tonal, melodic, beautifully structured, and orchestrated with
superb clarity and colour. Why the Tonhalle Orchestra let this slip from their repertoire is puzzling -
their website barely even mentions Andreae, in fact. In this, the fiftieth anniversary year of his death,
what better way for the Orchestra to make amends than by reinstating what must be one of the finest
Swiss symphonies?

The Notturno is somewhat darker in character than the Symphony, as is to be expected, but the
conjoined Scherzo lifts the spirits with some Mediterranean blue sky. The Little Suite, an attractive
Respighian depiction of the Venetian Carnival in four parts, completes the trilogy of works from the
same fruitful period. A decade on, Music for Orchestra is a characterful work along the lines of a
distilled companion-piece for the Symphony, yet also rather balletic or programmatic in sound.

All the works are given an aromatic, breezy, cohesive performance by the excellent Bournemouth
Symphony Orchestra under the experienced Marc Andreae, who is the composer's grandson. Sound
quality is good, if not outstanding in its tutti definition. The detailed and informative booklet notes
are English-language original, well written by Robert Matthew-Walker."
Musicweb





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