Gramophone Magazine Editor's Choice

September 2004

Disc of the Month

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Wilms: Symphonies Nos. 6 & 7

Awards:

Gramophone Magazine

Disc of the Month - September 2004

Label:

DG Archiv

Catalogue No:

4745082

Discs:

1

Release date:

5th July 2004

Barcode:

0028947450825

Length:

60 minutes

Medium:

Presto CD (download also available)
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Wilms: Symphonies Nos. 6 & 7


Concerto Köln, Werner Ehrhardt

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Johann Wilhelm Wilms: Symphony No. 6 in D minor, Op. 58

1. Adagio - Allegro molto e con fuoco

2. Andante quasi allegretto e grazioso

3. Scherzo. Allegretto - Trio

4. Rondo. Allegro molto

Johann Wilhelm Wilms: Symphony No.7 in C minor

1. Andante. Allegro

2. Poco adagio

3. Scherzo - Trio

4. Allegro con fuoco

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Editor's Choice

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Telemann: Paris Quartets vol. 2

Telemann: Paris Quartets vol. 2


Telemann:

Quartet TWV 43:D3 in D major for flute, violin, viola da gamba & b.c.

Quartet TWV 43:a2 in A minor for flute, violin, viola da gamba or cello & b.c.

Quartet TWV 43:G4 in G major for flute, violin, viola da gamba or cello & b.c.

Quartet TWV 43:G1 in G major for flute, violin, viola da gamba or cello & b.c.


“Printed in Paris by Le Clerc without Telemann's permission in 1736 but composed in Hamburg in 1730, the first six of these quartets called 'Quadri' were such a success that the composer himself was able to have printed – through a 'Privilege du Roi' – another six, the Nouveauxquatours en suites, in 1738. That set, too, had originated in the German city but also went down a treat with the Parisians.
Both groups are written for flute, violin, viola da gamba (with an alternative part for cello) and basso continuo, and comprise the composer's total output for this set of instruments. But confusingly, he divided 'Quadri' into pairs titled concertos, sonatas and suites; and in Concerto Primo, Florilegium use the cello while sticking with the gamba for the remaining pieces.
As before, James Johnstone is the right sort of continuo player, an inventive and expressive presence, not an intrusion. His colleagues are of a similar persuasion and their responses to both the robustness and delicacy of the music is exemplified in the first movement ('Allègrement') of the A minor quartet and second movement ('Légèrement') of the G major quartet.
These interpretations are of very high calibre.
The image is on the close side and the lines are a little crowded; a reduction in volume helps separate them and convey more clearly the nuances in the playing.”
Gramophone Classical Music Guide, 2010

“…an enchanting collection… Florilegium are masterly in this repertoire and, built on the imaginative continuo work of James Johnstone, offer charming delights aplenty.” Gramophone Magazine, Awards Issue 2005

GGramophone Magazine

Editor's Choice - September 2004

Super Audio CD

Format:

Hybrid Multi-channel

Channel - CCSSA20604

(SACD)

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On a Night Like This

On a Night Like This

Love Songs by Ernesto Lecuona


Lecuona:

Siempre en mi corazón

Allá en la sierra (from 'Córdoba')

Tu no tienes corazón

Mi corazón se fué

Dame de tus rosas

¡No es por ti!

¡Mira! (from 'La Habanera')

Dame el amor

Que risa me da

La compars

Al fin

Se abrieron las flores

Conga Cuba

Amor tardio

En una noche así (from the film 'Carnival in Costa Rica')

Devuélveme el corazón

Primavera de ilusión

Un amor vendrá (from the film 'Carnival in Costa Rica')

Me has dejado

No me engañarás

Rumba mejoral

No me mires ni me hables

Mi amor fue una flor

Canción del amor triste

Como presiento


Carole Farley (soprano), John Constable (piano)

GGramophone Magazine

Editor's Choice - September 2004

BIS - BISCD1374

(CD)

$15.25

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Dillon, J: The Book of Elements

Dillon, J: The Book of Elements


Noriko Kawai (piano)

This complete premiere recording of James Dillon's technical and intellectual tour de force, the five volumes of The Book of Elements, is performed by Noriko Kawai, for whom Volume 2 was written.

“The book teems with subtle cross-references, like the sudden reappearance in the last volume of the amamzingly Debussian gesture that launched the whole cycle. There are other echoes, too, from Schumann, Bartók, even folk music and rock. It adds up to something rich, strange and utterly riveting. The recording is beautifully fine-grained and warm, and the performances from Noriko Kawai have just the right combination of cat-like energy and delicate inwardness.” BBC Music Magazine

“There's a marvellously flamboyant spontaneity and exuberance The Book of Elements, demonstrating his view of the elements – air, water and so on – as standing for 'different forms of energy'. Energy is life, life is both time and transience, and the composer's over-riding concern is with images of impermanence and flux. These determine musical processes that speak of the inherent fragility of life and the essential sadness of attempts to construct something relatively stable and permanent in sound.
The work, composed between 1996 and 2003, is in five volumes with a clear formal trajectory, comprising 11, 7, 5, 3 and 1 pieces respectively.
The listener is kept enthralled, not only by allusions to familiar generic prototypes (toccata or moto perpetuo at one extreme, nocturne or threnody at the other), but also by a musical language that plays with perceptions about centricity: repeated notes or chords reconfigure traditional, even tonal identities as much as they contradict them. All this is accomplished with a mastery of piano style in which the entire history of keyboard virtuosity from Frescobaldi to Ligeti is thrown into the melting pot.
The Book of Elements began with a commission from Roger Woodward, and Rolf Hind, Nicolas Hodges and Ian Pace have all been associated with individual volumes. But Noriko Kawai has become most closely involved with this music, and she offers an unfailingly persuasive realisation, helped by a recording of exemplary immediacy and atmosphere. While she has ample reserves of strength for the many episodes of turbulence, the delicacy with which she plays the soft yet immensely intricate polyphony of the third piece of Volume 3 is even more remarkable.
Dillon manages to use all the instrument's traditional technical devices for prolonging sound with barely a hint of cliché. The final dispersal of energy at the end of the fifth volume, coming as it does after a positive Hammerklavier of trills and tremolos, is one of the great moments of early 21st-century music, simply because it speaks as much of affirmation as of dissolution. It sets the seal on a memorable release.”
Gramophone Classical Music Guide, 2010

GGramophone Magazine

Editor's Choice - September 2004

Contemporary Music - up to 25% off

NMC - NMCD091

(CD - 2 discs)

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Special: $10.50

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