Martyn Brabbins

Conductor

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Erik Chisholm: Violin Concerto & Dance Suite

Erik Chisholm: Violin Concerto & Dance Suite


Chisholm, E:

Violin Concerto

Matthew Trusler (violin)

Song of the mavis (Prelude 9 from From the True Edge of the Great World)

Ossianic lay (Prelude 1 from From the True Edge of the Great World)

Port a beul (Prelude 8 from From the True Edge of the Great World)

Dance Suite for orchestra and piano

Danny Driver (piano)


A bracing excursion to the Indian subcontinent via the Scottish Highlands: the compelling force of Scottish Modernism that is Erik Chisholm makes a welcome reappearance on Hyperion. Matthew Trusler and Danny Driver are the committed soloists in the two large-scale concertante works.

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Hyperion - CDA68208

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Walton: Violin Concerto, Partita & Hindemith Variations

Walton: Violin Concerto, Partita & Hindemith Variations


Walton:

Violin Concerto

Anthony Marwood (violin)

Partita for Orchestra

Variations on a Theme by Hindemith

Spitfire Prelude & Fugue


Read Presto's complete review of this disc here.

Martyn Brabbins and the BBC Scottish Symphony Orchestra follow up their definitive account of the symphonies (on CDA67794) with another outstanding album of Walton. From the sunlit Mediterranean lyricism of the Violin Concerto to the rousing Spitfire Prelude and Fugue, this is the composer at the height of his power.

“Anthony Marwood’s un-flashy individualism seems to be operating at an opposite pole to the Heifetz way, and generates memorable results of its own. While Marwood has all the virtuosity that the music demands, nothing is rushed…[and] the design here hangs together quite naturally. He searches out remarkable colours, too…alert accompanying by the orchestra sets a benchmark for the musical riches that follow” BBC Music Magazine, July 2017 ****

“Proceedings are launched in fine style with a supremely affectionate and agreeably lithe account of the immensely personable concerto that Walton conceived for the great Jascha Heifetz. Anthony Marwood proves an enviably secure and articulate soloist...their consistently absorbing performance will unquestionably give lasting pleasure.” Gramophone Magazine, July 2017

“an engrossing sequence. Marwood is a thrilling, virtuosic soloist in the ever-seductive concerto, and the orchestra matches his power.” Sunday Times, 2nd July 2017

“Walton’s musical and scoring virtuosity is to the fore in this wide-ranging and substantial piece that is done handsome service to by the BBCSSO and Brabbins, whether intimately expressive, fleet and spectral (Walton often with a twinkle in the eye), or grandiose.” classicalsource.com, July 2017 *****

“Marwood gently entwines himself with the orchestral texture. He's never flashy for its own sake, and yet his virtuosity and absolute command come across at every moment. Both he and the orchestra respond wonderfully to the concerto's changing moods...A fascinating disc that's well worth investigating, especially if you're tempted to explore some of Walton's lesser-known works.” James Longstaffe, Presto Classical, 7th July 2017

“Marwood is the incisive, poetic soloist in Walton’s Violin Concerto...Brabbins and the BBC Scottish Symphony Orchestra relish the showpiece Partita.” The Observer, 9th July 2017 *****

“Anthony Marwood has the technique to encompass the dazzling finger work designed with Heifetz in mind. An unqualified success.” The Strad, July 2017

“Hyperion becomes not only my overall choice for the coupling but a very strong contender in all the individual works.” MusicWeb International, July 2017

“[a highlight is] Anthony Marwood’s intelligent reading of the sultry Violin Concerto. The work usually leaves me cold, but this taut performance is a keeper, especially in the long closing movement where the reprise of music from the concerto's opening is devastatingly effective. The coda’s fireworks are sensational.” The Arts Desk, 29th July 2017

Presto Disc of the Week

7th July 2017

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Hyperion - CDA67986

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Howard Skempton: The Rime of the Ancient Mariner

Howard Skempton: The Rime of the Ancient Mariner


Skempton:

Only the Sound Remains

Christopher Yates (viola)

The Rime of the Ancient Mariner

Roderick Williams (baritone)


Read Presto's complete review of this disc here.

Perfectly crafted, deceptively simplistic and distinctively individual, Howard Skempton's compositions have a soundworld all of their own. This new full-length album on NMC perfectly displays his experimental, yet sonorous and tonal music.

Skempton takes on Coleridge's epic poem The Rime of the Ancient Mariner and brings it to life, using just solo voice (baritone) and small chamber ensemble. The result is a stunning, dark and hypnotic journey led by the almost constant, magnetic presence of Roderick Williams, for whose voice and dramatic capabilities the piece was conceived.

Only the Sound Remains takes its name from the opening line of The Mill-Water by English poet Edward Thomas. The piece is an evocation of loss and decay, where textures, and melodies mysteriously recur, while others simply fade beautifully out of aural reach. It is written for for sixteen players, including solo viola. This is a stunning premiere recording of two recent works by one of Britain's finest living composers.

“Williams is, as ever, the most spellbinding of story-tellers...one of the many things I love about this work is the curious synergy between composer and performer in that both resist the temptation to gild the lily, and in the recording session I attended it really did seem as if Coleridge’s ‘Wedding-Guest’ was conjuring both text and music into being for the very first time.” Katherine Cooper, Presto Classical, 5th May 2017

“[Skempton's] deceptively simple setting of Coleridge’s The Rime of the Ancient Mariner (almost all of it!) is hypnotically effective...If at times it’s reminiscent of the sea-voyage movement in Britten’s oratorio St Nicolas, it’s also marvellously evocative.” The Times, 14th April 2017

“The vocal line [in Mariner] is necessarily dominant, given the wealth of imagery to be conveyed, though it helps when Roderick Williams has a clarity of enunciation second to none...[in Only the Sound Remains] Yates is naturally attuned to his concertante role, while Martyn Brabbins secures audible finesse from BCMG...this is a valuable addition to Skempton’s expanding discography.” Gramophone Magazine, June 2017

“[Skempton] judges the balance between reiteration and variety to perfection, while the typical Skempton traits – clarity, deceptive simplicity and apparently familiar yet fresh and capricious language – are all here, sensitively conveyed by Birmingham Contemporary Music Group.” BBC Music Magazine, August 2017 *****

“The text is sung, beautifully, by baritone Roderick Williams. Exactly how Skempton's restrained, tonal music works its magic is hinted at in John Fallas’s booklet essay. There’s talk of nine-note scales and four-part canonic textures, though this barely hints at the work’s dramatic power. The piano’s entry at the start of the second stanza made me jump…as an exercise in effective musical storytelling, it's magnificent, and a piece to fall in love with.” The Arts Desk, 29th July 2017

Presto Disc of the Week

5th May 2017

GGramophone Magazine

Editor's Choice - June 2017

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NMC - NMCD234

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The Romantic Violin Concerto 21 - Bruch

The Romantic Violin Concerto 21 - Bruch


Bruch:

Violin Concerto No. 2 in D minor, Op. 44

Konzertstück, Op. 84

In Memoriam, Op. 65

Adagio appassionato Op. 57


Read Presto's complete review of this disc here

The ‘justly celebrated’ Jack Liebeck (as described by The Strad) follows in the footsteps of Heifetz and Perlman in championing Bruch’s now neglected Violin Concerto No 2, originally written for Sarasate. Three shorter concertante works for violin and orchestra complete the album (Bruch thought the Adagio appassionato one of his best works) which marks volume 21 in our highly regarded Romantic Violin Concerto series.

“as Jack Liebeck’s nicely restrained performance shows, [Bruch's Second Violin Concerto is] a piece that’s perfectly capable of standing on its own musical feet. His fine-grained playing gets exemplary support from Martyn Brabbins and the BBC Scottish Symphony Orchestra, who never overdo the menace that underlies the first movement especially” The Guardian, 23rd December 2016 ****

“Liebeck is certainly equal to all the challenges, moving from impeccable double-stopping one moment to the sweetest, most ardent of tones in some of the more impassioned passages.” Presto Classical, 23rd December 2016

“There’s much to admire in Jack Liebeck’s patrician account of Bruch’s D Minor Violin Concerto. His playing is virtually flawless in its technical ease, scintillating articulateness and purity of tone.” Gramophone Magazine, January 2017

“Throughout the Second Concerto, with its unforgettable soaring opening, Liebeck combines a beguiling silvery sound with tantalising interpretative restraint, free of heart-on-the-sleeve rhetoric…rarely has Bruch’s melodic genius been sounded with such chaste sweetness as here, ideally complimented by Liebeck’s captivating narrow-fast vibrato” BBC Music Magazine, January 2017 ****

“Impressive performances of the Concerto and of the ‘lesser’ pieces.” MusicWeb International, 1st February 2017

Presto Disc of the Week

23rd December 2016

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Hyperion - The Romantic Violin Concerto - CDA68055

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Elgar: Enigma Variations

Elgar: Enigma Variations

& other orchestral works


Elgar:

In the South (Alassio), Op. 50

Enigma Variations, Op. 36

Carillon, Op. 75

Florence Daguerre de Hureaux (narrator)

Une Voix dans le Désert

Kate Royal (soprano)

Le Drapeau Belge

Florence Daguerre de Hureaux (narrator)

Pleading, Op. 48 No. 1

Yann Ghiro (clarinet)


Two much-loved orchestral favourites representing the summit of Elgar's maturity are coupled with three of the lesser-known wartime works, here receiving their rst recordings with the original French texts. Kate Royal is the soprano soloist in 'Une voix dans le désert', a hauntingly tender masterpiece which every Elgarian should know.

“Both [In the South and the Enigma Variations] are well known and given impressively emotional and dramatic performances by Brabbins...The entire disc is a collector’s item.” Sunday Times, 30th October 2016

“fine, firmly unsentimental, bracingly muscular performances.” The Guardian, 3rd November 2016 ****

“Exceptional Elgar. ‘Nimrod’ has the grandeur of a Bruckner slow movement.” BBC Music Magazine, December 2016 *****

“Brabbins masterminds an expansive, ideally flexible and notably unflustered reading of Elgar’s In the South, one which quarries this evocative score’s plentiful reserves of noble grandeur, pantheistic wonder and vulnerability…[he] proves a comparably unhurried, affectionate and cannily observant guide through Enigma, the friends pictured within springing to life with unforced naturalness…an enjoyable and stimulating anthology that Elgarians everywhere should try and hear” Gramophone Magazine, November 2016

“Splendidly performed and recorded versions of Enigma and In the South, plus some fascinating rarities.” MusicWeb International, 1st December 2016

“Every work is recreated with penetrating musicianship and skilled empowerment from the podium. Every performance is of superlative calibre” Classical Ear, January 2017 *****

“Brabbins’ Enigma is a delight: tempi and tone perfectly judged, a feeling of freshness throughout which is lacking from a number of high-profile recent accounts” Classical Music, January 2017 *****

BBC Music Magazine

Disc of the month - December 2016

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Hyperion - CDA68101

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Ralph Vaughan Williams: Discoveries

Ralph Vaughan Williams: Discoveries


Vaughan Williams:

Three Nocturnes for Baritone and Orchestra

Numbers I and III orchestrated by Anthony Payne

Roderick Williams (baritone)

A Road All Paved with Stars

arranged by Adrian Williams

Four Last Songs

orchestrated by Anthony Payne

Jennifer Johnston (mezzo-soprano)

Stricken Peninsula

arr. P. Lane


From Ralph Vaughan Williams’s earliest compositions to the works written near his death in 1958, this new release from Albion, Discoveries, explores his lesser known works from top to bottom. + All of the works here are world premiere recordings. Modern composers have jumped on board to make this project a reality. Anthony Payne has orchestrated Numbers I and II of the Three Nocturnes for Baritone and Orchestra, as well as Four Last Songs for Mezzo-Soprano and Orchestra, and celebrated arrangers Adrian Williams and Philip Lane have also contributed. + Two of Britain’s finest singers are featured on this release, Roderick Williams and Jennifer Johnston. These artists are joined by the BBC Symphony conducted by Martyn Brabbins. This project was made in conjunction with BBC Radio 3. + The Financial Times named Jennifer Johnston the “Face to Watch in Opera,” and she was called by both the Observer and BBC Music Magazine “a rising star.” She is a graduate of Cambridge University as well as the Royal College of Music, and has appeared in operas at the Teatro alls Scala, Salzburg Festival, Opera de Lille, and many more. + Roderick Williams has appeared as a soloist alongside the Scottish Opera, English National Opera, and at The Royal Opera House. In September 2014, he was a featured soloist at the Last Night of the Proms.

“Three Nocturnes is the stand-out for me – performance, music itself, everything” BBC Music Magazine, January 2017 ****

“Roderick Williams and Jennifer Johnston are on stellar form, while Martyn Brabbins and the BBC SO give of their very best both here and in two purely orchestral offerings…exemplary production values bolster the appeal of [this Albion release] which can be cordially recommended to all RVW acolytes” Gramophone Magazine, November 2016

“An important collection of Vaughan Williams discoveries. The Three Nocturnes make it a mandatory purchase.” MusicWeb International, 28th November 2016

Albion Records - ALBCD028

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Havergal Brian: Symphonies Nos. 2 & 14

Havergal Brian: Symphonies Nos. 2 & 14


Brian:

Symphony No. 2 in E minor

Lynda Cochrane (piano 1), Judith Keaney (piano 2)

Symphony No. 14

world premiere recording


Havergal Brian’s Second Symphony (1930-31) is music on an epic scale. Partly inspired by Goethe’s play Götz von Berlichingen and scored for a huge orchestra that includes two pianos, three timpanists and an astonishing sixteen horns, the score contains some of Brian’s richest and most immediately appealing music. This revelatory performance by Brian stalwarts the Royal Scottish National Orchestra and conductor Martyn Brabbins is the first commercial recording to feature the full instrumental forces, as envisaged by the composer. This performance of Brian’s Fourteenth Symphony (1959-60) is the first legitimate recording of the work to have been made. Completed when Brian was 84 years old and embarking on an astonishing Indian Summer of creativity that lasted until he was 92, the Fourteenth is more compact, but no less heroic in spirit: a complex single movement encompassing a kaleidoscopic range of moods and providing a perfect introduction to Brian’s late style.

All tracks available in stereo and multi-channel,

This Hybrid CD can be played on any standard CD player

Super Audio CD

Format:

Hybrid Multi-channel

Dutton Epoch - CDLX7330

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Francis Chagrin: Symphonies Nos. 1 and 2

Francis Chagrin: Symphonies Nos. 1 and 2


Chagrin:

Symphony No. 1

Symphony No. 2


Francis Chagrin described himself as ‘Romanian by birth, British by nationality and cosmopolitan by inclination’. A student of Paul Dukas and Nadia Boulanger, Chagrin wrote prolifically for films but composed for most genres. The two symphonies are among his most important orchestral works. Both are dramatic, even passionate—not least in the beautiful slow movements—and full of contrasts, both within and between movements. Undeservedly neglected, they reveal Chagrin’s mastery of form and colour.

“As the BBC Symphony Orchestra’s fiercely engaged performances under Martyn Brabbins show, both symphonies are thoroughly worthwhile…there are some echoes of French music, particularly of Roussel in the First Symphony, but much more of that work sounds close to Walton’s music of the postwar period…together, [these symphonies] define an intriguing creative figure, whose music needs to be explored further.” The Guardian, 3rd February 2016 ****

“Martyn Brabbins and the BBC Symphony Orchestra remain excellent guides to the score's closely-worked wonders…you can only regret that life didn't allow Chagrin any time for a Symphony No. 3” BBC Music Magazine, April 2016 ****

“the First Symphony impresses by dint of its solid craftsmanship, tasteful restraint and enviable sense of purpose…[the Second] proves another sinewy and rewarding utterance, skilfully orchestrated, uncompromisingly defiant in spirit…collectors with a fondness for, say, Alan Rawsthorne [or] Lennox Berkeley…should waste no time in investigating these two compositions” Gramophone Magazine, April 2016

Naxos - 8571371

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The Romantic Violin Concerto 19 - Bruch

The Romantic Violin Concerto 19 - Bruch


Bruch:

Serenade in A minor for Violin and Orchestra, Op. 75

Romance in A minor for violin & orchestra, Op. 42

Violin Concerto No. 1 in G minor, Op. 26


Max Bruch’s Violin Concerto No 1 is the daddy—the most popular ever written. Much recorded, Jack Liebeck turns in a dazzling performance of youthful vigour, prefacing the Concerto with the gorgeous Serenade and a Romance.

“what Liebeck seems to be saying is that Bruch needs no additional sweeteners. His playing is unpretentious and strikingly introspective, resulting in an Adagio of quiet dignity. And even if the first movement doesn't quite match the grandeur of Julia Fischer's or the sweaty passion of Vadim Gluzman's, it stands out for its poise and clarity.” Gramophone Magazine, January 2016

“Liebeck is a red-blooded, eloquent advocate throughout.” The Guardian, 21st January 2016 ***

“Liebeck certainly has the technioque and the temperament...Brabbins doesn't let the music sit down in the first movement [of the Concerto], which has energy and direction from all concerned...[Liebeck] doesn't wear his heart on his sleeve, letting the music speak for itself, but I can't helping feeling that the orchestra carries the main emotional burden.” BBC Music Magazine, January 2016 ***

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Birtwistle: Slow Frieze/Antiphonies

Birtwistle: Slow Frieze/Antiphonies


Birtwistle:

Antiphonies for Piano & Orchestra

first recording of revised version

Nicolas Hodges (piano)

WDR Sinfonieorchester Köln, Stefan Asbury

Slow Frieze

first recording, supervised by the composer

Nicolas Hodges (piano)

Birmingham Contemporary Music Group, Martyn Brabbins

Panic

Marcus Weiss (saxophone) & Christian Dierstein (percussion)

Windkraft Tirol, Kasper de Roo

Crowd

first recording, supervised by the composer

Antonia Schreiber (harp)


Harrison Birtwistle celebrated his 80th birthday in 2014, and has for many years been lauded as one of Britain’s greatest composers, perhaps the greatest since Purcell. This recording contains major works from the 1990s - Antiphonies, Slow Frieze and Panic - with Crowd, a solo harp work written in 2005, as an epilogue. My first performance of Antiphonies, with BBC Scottish SO and Martyn Brabbins in 1999, marked the first time Harry and I worked closely together. I had also heard the first performance of Slow Frieze, and it was clear to me that the two works should be presented together. Since these recordings were made, my working relationship with Harry has continued with the premieres of two new solo works, the Gigue Machine (2011), and Variations from the Golden Mountain (2014). The collaboration is, happily, ongoing.

“A timely reminder that Birtwistle is no mere local hero: WDR Symphony Orchestra tackles the complexities of Antiphonies, while Windkraft Tirol deliver Panic with tremendous panache…Slow Frieze [is] a superb premiere recording by the BCMG…Crowd, Birtwistle's only work for solo harp, is a tour de force of fearless questioning in an atmosphere of aqueous luminescence” BBC Music Magazine, December 2015

“The ever-impressive Hodges is commanding in Antiphonies, more assured than Joanna MacGregor, and its pairing with Slow Frieze makes perfect sense…harpist Antonia Schreiber is excellent in the sparse, brooding Crowd.” Classical Music, December 2015 ****

“Antiphonies…projects a large-scale drama which veers between dance and dirge…all three performances are as well characterised in their teeming details as they are assured in overall formal precision…the music in this spellbinding performance still comes across as a celebratory lament.” Gramophone Magazine, October 2015

“it is the recording of Antiphonies...that provides the biggest revelation here...The score was revised in 2005 and that is the version that Nicolas Hodges plays here, the revision making it more structurally convincing, and intensely, involvingly dramatic than I’ve ever heard it before, turning the climactic manic section – a Boulez-like toccata – into a virtuoso tour de force.” The Guardian, 12th August 2015 ****

Metronome - METCD1079

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