This has the look of a career-making recording from Scots violinist Nicola Benedetti, putting her up against difficult repertory that diverges from the crowd-pleasing fare that formed the basis of her career up to this album. It would have been hard to predict just how well she pulls off her task here; few could have heard the profound interpreter of Russian music in the Italia and Silver Violin collections from earlier in the 2010s. The Shostakovich Violin Concerto No. 1, Op. 99, is an emotionally thorny work in five movements anchored by a tense passacaglia in the middle. The composer withheld it from publication during the period of renewed Stalinist repression in the late 1940s. It was premiered in 1955 by David Oistrakh, and in endurance and elevated tone even if not quite in lyrical grandeur, Benedetti brings that master to mind. Sample the Stravinskian "Burlesque" finale for a sense of how Benedetti gets outside herself here. The Glazunov Violin Concerto, Op. 82, is a more stable work, rooted in pre-WWI conservatory traditions, and Benedetti's reading is nothing short of letter-perfect.
Ida Haendel’s sinewy and athletic reading of the often under-rated Britten combines toughness with a cumulative dramatic impetus which is hard to resist. Berglund and the Bournemouth players respond with a terse and argumentative vigour, suitably balanced between resignation and defiant rhetoric, especially in the closing Passacaglia. The Walton Concerto, also dating from 1938-9, is played with an apposite blend of inscrutable panache, as in the irrepressibly brilliant central movement, and elsewhere, a sensuous, if occasionally over-indulgent languor. Rare lapses in the finale can be safely overlooked, in a performance of eloquence and undisputed stature.
This newly remastered recording presents a varied selection of orchestral works by Benjamin Britten, performed by the Bournemouth Symphony Orchestra under Richard Hickox, to mark the great composer’s centenary year. The disc is also a part of The Richard Hickox Legacy, paying tribute to the conductor and leading advocate of twentieth-century British music.
One of the greatest American symphonists, William Schuman established an orchestral sound unmistakably his own. A master orchestrator, he could turn a simple tune (When Jesus Wept from New England Triptych) into a symphonic statement of universal appeal. His witty and imaginative orchestration of an early organ piece by Charles Ives, Variations on America, is included in this collection in order to emphasize Schuman’s ……..
With the exception of a Serenade for orchestra, the Cello Concerto was Moeran’s last major work. The premiere performance took place in Dublin in November 1945, where it received great acclaim. It is in conventional sonata form and is one continuous paean for the cello, which is allowed to sing through the expert orchestration from start to finish.
A collection of 20th century English composer Sir Edward Elgar's most popular works, including Chanson de Matin, Chanson de Nuit, Salut d'amour, Sospiri, and Sursum Corda.