HI fellows! Here you are a nice compilation of rare works by several uncommon composers, including Casella's Elegia eroica and his Concerto Romano. As you can see here, there is too much unknown music that deserves more attention. Enjoy!
Tasmin Little's 2013 release on Chandos is an exploration of lush and lyrical music for violin and orchestra, composed by the leading British composers of the early 20th century, and it is an album of remarkable depth and beauty. Opening the program is the Concerto for violin & orchestra by E.J. Moeran, which sets the mood for the disc with its long-breathed, melancholy lines and pastoral atmosphere. While this is a technically challenging work that shows Little to her best advantage as a virtuoso, listeners may come away from the piece recalling its sweet ambience more than its flashiness. The same could also be said for Frederick Delius' Légende, Gustav Holst's A Song of the Night, and Ralph Vaughan Williams' The Lark Ascending, all three of which provide tests for the violinist's skills, yet are filled with such gorgeous music that listeners may only remember the general opulence of the scores. Also included are premiere recordings of Roger Turner's arrangements of Edward Elgar's Chanson de matin, Chanson de nuit, and Salut d'amour, which in orchestration, mood, and style fit the rest of the album nicely.
The Sixteen, bright stars of the Baroque, have plenty to say on 20th-century repertoire (witness their excellent Britten series on Collins). Underpin them with the BBC Philharmonic and it might seem a magic formula. Ives’s unearthly The Unanswered Question holds few problems for instrumental players weaned on Maxwell Davies – no more than do the brilliant wind roulades of Stravinsky’s Symphony of Psalms. Deft BBC teamwork and a chamber articulation to woodwind and brass helps this Koussevitzky-commissioned masterpiece to shed its often hammy ‘big band’ sound, creeping closer to the subtle, leaner sonorities of his later choral works. It gains. The singing varies. Too many dynamic shifts sound prosaic or under-prepared; fortes are forced, with muddy results. The vocal blend (happier in lower voices) can seem haphazard and colours the Tippett, where the men’s roars – contrast the lovely, sensual soprano solo – seem crude. Get this disc, instead, for the rare, late Poulenc – his New York-commissioned Sept répons. It is a curiously under-recorded devotional work, bleeding with pathos yet pumping energy, its exoticism enhanced by slightly breathy, tender solos, and scintillatingly sung with just those crucial missing qualities of awe and freshness. A million times more refined than what goes before.
Stephen Paulus was an astonishingly prolific fixture of the American music scene, with some 600 works to his credit. His sudden death in 2014 left classical music—particularly the worlds of opera and choral music—significantly the poorer, so it’s inevitable that we should see his legacy memorialised with new additions to the catalogue. Royal Holloway’s ‘Calm on the Listening Ear of Night’ sets Paulus’s music in dialogue with another Midwestern composer, René Clausen. It’s Clausen whose musical personality emerges most strongly here in these precise performances. His works offer a distinctively American spin on the fashionable Baltic sound world of Ešenvalds and Vasks that is as appealing as it is generous. In pace, which opens the disc, offers eight minutes of lushly filmic excess.
If anybody is, then Zoltán Kocsis is truly a musical artist in the Renaissance sense: he explores ever greater areas of his profession, and takes possession of new realms. Initially, we looked on with incomprehension, asking why as a pianist of genius, he did not devote himself exclusively to his instrument. Why was he dissipating his creative energies is so many fields: teaching, conducting, writing essays, creating concert programs, forming societies and building an orchestra – and of course, there was his composition as well. But these days, we really have to acknowledge that with Kocsis, this is not some sporting achievement, but utilising the Wagnerian term – a kind of “Gesamtkunstwerk” activity.