September, 2018 | Two contemporaneous British composers, one long-lived – Richard Arnell (1917-2009) – the other less fortunate, Stanley Bate (1911-59): the former’s music for violin and piano is captured here, quite short in terms of minutes but not in quality, and supplemented by the latter composer’s 1947 Sonata.
September, 2018 | Amidst the considerable number of compositions by Rameau for the theatre, and which are increasingly being discovered by opera companies and audiences, it is perhaps easy to forget that the composer only came to the stage fairly late in his career and was acclaimed initially as a harpsichordist and organist. His published output of music for the harpsichord is not extensive, but it was and is influential... ... Steven Devine defers to the theory, as intimated in the extracts he quotes in his liner notes, but his performances rightly come alive with charming vitality as he realises both the letter and spirit of the music with engaging precision.
September, 2018 | Of Leonard Bernstein’s three Symphonies, the first two are jewels in his compositional crown (whether for the concert-hall or the theatre), The Age of Anxiety especially. Antonio Pappano and his Santa Cecilia forces, plus guests, do all the music here proud. ... Symphony 2, The Age of Anxiety (1949/65), based on the near-contemporaneous and Pulitzer Prize-winning “Baroque Eclogue” by W. H. Auden, is a masterpiece. ... Prelude, Fugue and Riffs (1949) was destined for Woody Herman but arrived with Benny Goodman.
September, 2018 | This Hyperion release contains the greatest performance of Ralph Vaughan Williams’s Sea Symphony I have ever heard... ... ...what is so impressive about Martyn Brabbins’s account is how he holds the various changes within those vast outer movements together without in any way sacrificing any aspect, a remarkable achievement of interpretative musicianship. ... Throughout, Brabbins is inspiring and profoundly insightful, and any lover of Vaughan Williams’s music must add this disc to their collection, even if it already boasts Boult (twice), Elder, Leonard Slatkin, Andrew Davis, Previn, Haitink and Handley, and the sound quality is well-nigh-perfect...
September, 2018 | Schubert’s Fifth Symphony opens with four comfortingly sunny bars featuring woodwind followed by a gently urgent theme on strings. At once it is evident that the music will represent the composer in optimistic mood so it is surprising to hear John Eliot Gardiner phrasing the music with expressive swells and fades...
September, 2018 | This Hyperion release of mostly a cappella settings reports a confident and highly gifted composer, Owain Park (born 1993), his alma mater The Choir of Trinity College Cambridge doing him proud, Stephen Layton securing polish and beauty, the singers’ robust and well-blended sound captured with sumptuous bloom in its sixteenth-century Chapel.
September, 2018 | These days there's an increasingly well-endowed catalogue of Rachmaninov's Études-tableaux (Study-Pictures) from his mature Russian period (1911, 1916-17 respectively) – music for some reason never as popular as the earlier Preludes. ... Steven Osborne holds his own aristocratically.
September, 2018 | Vivaldi pioneered neither the three-movement form of the Concerto that became standard, nor the use of multiple instruments as soloists (as opposed to constituting a concertino group in contrast with the orchestra of the Concerto grosso genre). But he did exploit both practices to a wider degree than virtually all other composers of his era... ... ...the contribution by La Serenissima and Adrian Chandler chugs along with an invigorating pace that is characteristic of.
September, 2018 | More than ten years ago someone at PentaTone had the bright idea of capturing a sonically superior Shostakovich cycle from the Russian National Orchestra. Every maestro featured was to have been drawn from the impressive collegium then sharing its podium with founding avatar Mikhail Pletnev.
September, 2018 | Issued only now (September 2018), the long delay in it reaching the public is due not to any artistic failings but to behind the scenes business shenanigans at the time of recording. Guild to the rescue. And if Mike Batt conducting The Planets seems unlikely, then the man’s versatility – a lengthy CV of distinguished collaborations across a wide range of music, not just The Wombles – is perhaps something of a liability for his reputation.