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Dies Natalis
Dies natalis*: I. Intrada; II. Rhapsody; III. The Rapture; IV. Wonder; V. The Salutation;
Prelude for String Orchestra;
The Fall of the Leaf (Elegy) (compl. Howard Ferguson);
Two Sonnets for Tenor and Orchestra*: I. When I consider; II. How soon hath Time; Nocturne (New Year Music);
Farewell to Arms*: I. Introduction; II. Aria
James Gilchrist (tenor)*
Bournemouth Symphony Orchestra (Leader: Duncan Riddell),
David Hill
Quintessentially Finzi, the tender yet radiant Dies natalis, a setting of texts by the 17th-century poet Thomas Traherne, depicts both the first sensations of a child as it enters the world, and life’s tarnishing experience of the innocence of childhood.
In Farewell to Arms, a further example of Finzi’s enthusiasm for 17th-century poets, the steady but inevitable tramp of time, symbolized by the measured bass and the tenor’s sad, arching melody, becomes a poignant symbol for the brevity of life as expressed in lines such as ‘O time too swift, O swiftness never ceasing’. Finzi knew all too well that ‘Beauty, strength, youth are flowers but fading seen’.
“These are fine performances….The Bournemouth chorus sing cleanly….. The orchestra sustain all comparisons and one feels David Hill’s direction to be both firm and inspiring.” Gramophone on 8.557863
“James Gilchrist’s singing is at one with this approach. It is good to hear the voice gain resonance and make the comparatively rare forte carry more in the way of release than a more habitually robust manner would do. His clarity and precision are warmed by a rare sweetness of tone, and the ‘lie’ of these songs appears to suit him to perfection.” Gramophone on a previous Finzi songs release
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8.570833
Erno DOHNANYI (1877 - 1960)
Violin Concertos Nos. 1 & 2
Michael Ludwig (violin), Royal Scottish National Orchestra, JoAnn Falletta
Written in the mould of the great Romantic violin concerto, and with an unmistakably Hungarian flavour, the superbly orchestrated Violin Concerto No. 2 is worthy of being ranked alongside the Concertos by Barber and Korngold.“…an exciting, perfectly balanced, extremely engaging, kaleidoscopic adventure in music. All the playing is remarkable.” American Record Guide on 8.557153 |
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8.559356
Leroy ANDERSON (1908 - 1975)
Orchestral Music . 2
Alistair Young (piano), David McCallum, (trumpet), BBC Concert Orchestra, Leonard Slatkin
Here, in the second volume of Anderson’s orchestral music, the Anderson family has made available several pieces that the composer did not release, with some first recordings scattered among the titles. “The playing by the BBC Concert Orchestra is relaxed and charming. Under Slatkin's baton the melodies flow effortlessly, and clearly a good time was had by all.” Classics Today on 8.559313 (Vol. 1) |
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8.570529
Albert ROUSSEL (1869 - 1937)
Symphony No. 2 (1919-21)
Royal Scottish National Orchestra, Stéphane Denève
Roussel’s Second Symphony, has densely intricate orchestration and a wide range of expression. The previous disc of Roussel on on Naxos 8.570245 was a great success and won the prestigious Diapason D’or. Stéphane Denève was given exceptional praise by Classic FM: “Denève does justice to a dazzling piece of work, fresh and vigorous, a mix of Stravinskyian rhythms and Debussyian colours…this is a thrilling reminder of an underperformed composer.” |
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8.557526
Arnold SCHOENBERG (1874 - 1951)
Chamber Symphony No. 2
Mark Beesley (bass), Simon Joly Chorale, New York Woodwind Quintet, Philharmonia Orchestra, Robert Craft
The little-known Second Chamber Symphony ought to be the most popular of Schoenberg’s later masterpieces. Neither “atonal” nor “twelve-tone”, it contrasts a lush, melodious, dramatic first movement with a rapid and richly polyphonic second movement. “There's no denying the sheer excitement, the authentically Schoenbergian iconoclasm of what Craft and his team of 15 virtuosos achieve.” Gramophone on 8.557523 |
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8.570540
Alexander ZEMLINSKY (1871 - 1942)
Cello Sonata
Othmar Müller (cello), Ernst Ottensamer (clarinet), Christopher Hinterhuber (piano)
The three works on this recording, written during the 1890s, reveal a skilful and assured figure in the process of working free of influences, notably Brahms. “[Christopher Hinterhuber is] able to tease textures out with intelligence and skill. This is fine playing.” Gramophone on 8.557450 |
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8.570737
Carl NIELSEN (1865 - 1931)
The Symphonies . 1
Danish National Symphony Orchestra / DR, Michael Schønwandt
The exuberant Symphony No. 1 is here coupled with the enigmatic Symphony No. 6, which has been described as “music of clear sunlight and sudden shadows”. “This is the welcome completion of what now ranks, in my judgment, as the best set of the Nielsen symphonies yet accomplished in the recording medium.” Fanfare on the original release |
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8.570583
Igor Alexandrovich FROLOV (b. 1937)
Music for Violin and Piano
Nicolas Koeckert (violin), Rudolf Joachim Koeckert (violin), Kristina Miller (piano)
Although his roots are grounded in classical tradition, elements of jazz can be found in many of Frolov’s compositions, such as the virtuosic and entertaining Concert Fantasy on Themes from Gershwin’s Porgy and Bess. “Nicolas Koeckert, a prizewinner in the 2002 Moscow Tchaikovsky Competition, wears his virtuosity with an admirably light touch.” The Strad on Naxos 8.557388 |
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8.570397
Giovanni BOTTESINI (1821 - 1889)
Gran Concerto in F sharp minor
Thomas Martin (double bass), José-Luis Garcia (violin), Emma Johnson (clarinet), English Chamber Orchestra, Andrew Litton
The Gran Concerto in F sharp minor is arguably Bottesini’s most accomplished and involved composition for the double bass in which the instrument’s resources are fully exploited with virtuoso passages and adventurous modulations. “It's all easy and delightful to digest, especially if you like a good tune, and calculated to disperse any elephantine image you may have of the double-bass, a revelation in fact” Gramophone on its original release. |
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8.570708
MUSIC FOR SHAKESPEARE'S THEATRE
England’s Helicon, Gerald Place (tenor), Dorothy Linell (lute), Rebecca Hickey (soprano)
Here are thirty or so settings from Shakespeare’s lifetime by composers including Morley, Johnson, Dowland, Byrd, Ferrabosco and others, including lyrics set to ballad tunes that would have been very familiar to the actors in his company. “This is an enchanting entertainment, well worth the effort.” Gramophone on 8.55733. |
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