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Lawrence Power

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Fin de siècle

Fin de siècle

Music for viola and piano


Büsser:

Appassionato, Op. 34

Chausson:

Pièce Op. 39

Debussy:

Beau Soir

Durosoir:

Vitrail pour alto et piano

Enescu:

Concertstück for viola & piano

Hahn, R:

Soliloque et Forlane for viola & piano

Honnoré:

Morceau de concert

Hüe:

Thème varié

Ravel:

Deux mélodies hébraïques: Kaddisch

Vierne, L:

Deux Pièces Op. 7


Lawrence Power (viola) & Simon Crawford-Phillips (piano)

That the names of Hüe and Büsser are now largely forgotten is no reflection on their ability to write music which cannot fail to delight (and did not fail to win the Prix de Rome). Lawrence Power and Simon Crawford-Phillips present a wonderful recital which sets Ravel and Debussy in the context of their lesser-known contemporaries.

“Most of these pieces by Paris-based composers may be unfamiliar...but they merit rediscovery thanks to this duo’s superb playing. They make Henri Büsser’s Appassionato seem like the viola’s miniature answer to Franck’s Violin Sonata.” Sunday Times, 11th September 2016

“The players’ enthusiasm is self-evident, and Power tempers his sweet, full-throated tone...with a lovely inwardness in the quieter music. Crawford-Phillips is very much on the same page; the pair phrase naturally together... consistently enjoyable way to discover some unexpectedly rewardAing music.” Gramophone Magazine, October 2016

“Power and Crawford-Phillips are a superb duo, matching their depth and richness of tone with an energetic, passionate approach, and the warm sound lets them shine.” BBC Music Magazine, December 2016 ****

“There is more than enough in this beautifully played disc to attract viola aficionados and Francophiles alike.” MusicWeb International, 19th December 2016

GGramophone Magazine

Editor's Choice - October 2016

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Herrmann, Gershwin, Waxman & Copland

Herrmann, Gershwin, Waxman & Copland

American chamber music


Copland:

Billy the Kid: Waltz

Rebecca Gilliver (cello), Ian Brown (piano)

Billy the Kid: Celebration

Rebecca Gilliver (cello), Ian Brown (piano)

Gershwin:

Clap Yo' Hands

Ian Brown (piano)

Do, Do, Do

Ian Brown (piano)

Do It Again

Ian Brown (piano)

Fascinatin' Rhythm

Ian Brown (piano)

I Got Rhythm (from Girl Crazy & An American in Paris)

Ian Brown (piano)

I'll Build a Stairway to Paradise

Ian Brown (piano)

Liza

Ian Brown (piano)

The Man I Love

Ian Brown (piano)

My One & Only

Ian Brown (piano)

Nobody But You

Ian Brown (piano)

Oh, Lady Be Good!

Ian Brown (piano)

Somebody Loves Me

Ian Brown (piano)

Strike Up the Band

Ian Brown (piano)

Swanee

Ian Brown (piano)

Sweet and Low-Down

Ian Brown (piano)

's Wonderful

Ian Brown (piano)

That Certain Feeling

Ian Brown (piano)

Who Cares?

Ian Brown (piano)

Promenade (Walking the Dog)

arr. Anthony Wakefield

Richard Hosford (clarinet), Ian Brown (piano)

Lullaby for Strings

Marianne Thorsen (violin), Laura Samuel (violin), Lawrence Power (viola), Rebecca Gilliver (cello)

Herrmann, B:

Souvenir de Voyage for Clarinet Quintet

Richard Hosford (clarinet), Marianne Thorsen (violin), Laura Samuel (violin), Lawrence Power (viola), Rebecca Gilliver (cello)

Waxman, F:

Four scenes from childhood

Marianne Thorsen (violin), Ian Brown (piano)


This programme features concert music by composers who also wrote film scores for Hollywood. While this was just one string to the considerable bows of Gershwin and Copland, Bernard Herrmann and Franz Waxman are best known for their music for Hitchcock films (Vertigo, North by Northwest, Marnie and Psycho for Herrmann; and Rebecca and The Paradine Case for Waxman). Centre stage is Gershwin’s Song-book, arranged by the composer for solo piano in order to present the songs ‘as George Gershwin plays them himself’.

“The Nash Ensemble’s adroit playing tug at the heart-strings.” Financial Times, 20th June 2015

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Arthur Benjamin: Violin Sonatina & Viola Sonata

Arthur Benjamin: Violin Sonatina & Viola Sonata


Benjamin, A:

Sonata for Viola & Piano (1942)

Three Violin Pieces (1921-25)

A Tune & Variations. For Little People (1939)

Le Tombeau de Ravel: Valse-Caprices

From San Domingo

Jamaican Rumba

arr. William Primrose

Sonatina for Violin & Piano (1925)


Lawrence Power (viola & violin), Simon Crawford-Phillips (piano)

Lawrence Power is Britain’s greatest living viola player, the true successor to Lionel Tertis and William Primrose. Part of his mission is to perform and record music premiered by those masters of the previous century, including works by York Bowen, Ralph Vaughan Williams, Benjamin Dale, William Walton and, here, Arthur Benjamin.

Benjamin was one of the first Australian musicians to forge an international reputation. His creative output, which encompasses about eighty works altogether, manifests a great variety of idioms and genres. It includes a good number of light-music miniatures, many of them infused with a jazz or Afro-Caribbean flavour: the most famous of these is the Jamaican Rumba which concludes this album.

This album represents something of a departure for Lawrence Power’s recording career: he performs Benjamin’s Violin Sonatina on the violin. This ambitious, virtuosic and formidably accomplished work is not at all diminutive—perhaps the lack of a slow movement was felt to debar it from full sonata status.

Benjamin’s Viola Sonata is a wartime piece, with a first movement of dark foreboding. It manifests a spiritual affinity with the large-scale and often elegiac Symphony that Benjamin was about to begin composing, and it contains the bleakest and perhaps the most deeply felt music on the present album. It is an impressive, powerful and virtuosic work, with many technical challenges, all of which Lawrence scales with his usual astonishing prowess.

“Power’s viola sound has a notable seductiveness, a sort of electric sweetness, but his genius for phrasing is as effective in Benjamin’s 1924 Violin Sonatina (more substantial than the title suggests) as in his searching 1942 Viola Sonata, the focus here.” Sunday Times, 25th May 2014

“Whether playing his viola or violin, Lawrence Power is in total sympathy with Benjamin's shifting moods, and Simon Crawford-Phillips proves a lithe and responsive piano partner.” BBC Music Magazine, July 2014 ****

“Although Lawrence Power is not quite as characterful or fine-grained a fiddler as he is a viola-player, there's precious little with which to take issue about his alert and sensitive advocacy. His interpretation of the tremendous Viola Sonata is truly magnificent, and he receives impeccable support throughout from Simon Crawford-Phillips.” Gramophone Magazine, August 2014

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Brahms: String Quintets

Brahms: String Quintets


Brahms:

String Quintet No. 1 in F major, Op. 88

String Quintet No. 2 in G major, Op. 111


‘It was in the G major string quintet … that the Takács players again hit special heights, achieving near-miracles of balance and interplay and with Geraldine Walther and guest Lawrence Power delivering a masterclass of contrasting but complementary viola playing’ (The Guardian)

The Takács Quartet have been recently described as ‘one of the world’s most distinguished ensembles’. Here they collaborate with Britain’s greatest living viola player, Lawrence Power, who with his long association with The Nash Ensemble among others has also proved himself a remarkable chamber musician.

Brahms’s String Quintets (Opp 88 and 111) both represent landmarks of the Romantic chamber music repertoire, and demonstrate the composer’s utter mastery of the genre.

“These fine performances make a strong case for them.” Sunday Times, 6th April 2014

“Everything sounds as though it has been thought through extensively...The Takács's Brahms is like a superbly engineered road: we always know where we're going, and the views can be magnificent, but there are some interesting contours hidden beneath the tarmac.” BBC Music Magazine, May 2014 ****

“try this inspiring Takács Quartet disc with Lawrence Power as guest viola, his big-boned sound matching the expressive energy of the Takács's own Geraldine Walther.” The Observer, 17th April 2014 ****

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Bridge: Phantasy Piano Quartet & Sonatas

Bridge: Phantasy Piano Quartet & Sonatas


Bridge:

Phantasy in F sharp minor for piano quartet

Cello Sonata in D minor, H125

An Irish Melody, "Londonderry Air"

Cherry Ripe

Sally in Our Alley

Christmas Dance 'Sir Roger de Coverley'

Violin Sonata, H. 183 (1932)


The Nash Ensemble: Marianne Thorsen (violin), Laura Samuel (violin), Lawrence Power (viola), Paul Watkins (cello) & Ian Brown (piano)

The Nash Ensemble presents a fascinating compendium of Frank Bridge’s chamber music, demonstrating the composer’s developing style.

Bridge is best known through his most famous pupil, Benjamin Britten, who recognized his teacher’s genius and frequently programmed his works. The Phantasy Piano Quartet, completed in June 1910, reveals Bridge’s early style at its most fluent. Writing in the 1948 Aldeburgh Festival programme book, Benjamin Britten revealed the essence of this work perfectly: ‘Sonorous yet lucid, with clear, clean lines, grateful to listen to and to play. It is the music of a practical musician, brought up in German orthodoxy, but who loved French romanticism and conception of sound—Brahms happily tempered with Fauré.’

In his later works, represented here by the Cello Sonata and Violin Sonata, Bridge made use of more angular melodies, and seemed influenced by contemporary trends in Europe, much to the dismay of critics at home. Britten staunchly defended Bridge and writes about ‘the invariable fascination of the sound; the conversational melodies can be difficult to recognize, but the drama and tensions easy to feel’.

Also included are folk-song arrangements in which Bridge absorbs the material into his musical fabric, taking creative ownership of the melodies.

“The sonata receives a wonderfully searching performance from Paul Watkins and Ian Brown...[in the Violin Sonata] the earlier lyricism is there, but as just one part of an expressive web. Thorsen and Brown catch those moodswings perfectly” The Guardian, 26th September 2013 *****

“Throughout, there's an identifiable melodic flow, initially comparable to Faure, and then Bridge's characteristic harmonic idiom developed from the techniques of Scriabin and early Berg.” Gramophone Magazine, October 2013

“What this beautifully played and thoughtfully programmed disc has going for it are, first, that it presents these works in a chronological survey of Bridge's chamber output...Altogether, a valuable addition to the ever-growing Frank Bridge discography.” BBC Music Magazine, December 2013 ****

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R. Strauss: Don Quixote & Till Eulenspiegel

R. Strauss: Don Quixote & Till Eulenspiegel


Strauss, R:

Don Quixote, Op. 35

with Alban Gerhardt (cello) & Lawrence Power (viola)

Till Eulenspiegels lustige Streiche, Op. 28


Strauss’s ‘Fantastic variations on a theme of knightly character’, as Don Quixote is subtitled, is one of the composer’s most popular tone poems, principally because of the beautifully drawn central characters of the Don (performed by a solo cellist) and Sancho Panza (viola). These roles are luxuriously cast in this new recording, being taken by Hyperion artists Alban Gerhardt and Lawrence Power. The merry tale of Till Eulenspiegel completes this release.

The Gürzenich-Orchester Köln, the very orchestra which gave the premieres of both works in the 1890s, is conducted by Markus Stenz, who has held the position of Principal Conductor since 2003. He visited China with the orchestra in early 2008 and conducted their first ever BBC Prom at the Royal Albert Hall in August 2008. In September 2010 he returned to China with the Gürzenich Orchestra and the Opera of Cologne to conduct the first ever production of Wagner’s ‘Ring’ in Shanghai. Among other posts he is Chief Guest Conductor of the Hallé.

“the playing here is first-rate, and Alban Gerhardt and Lawrence Power are vivid soloists.” Sunday Times, 7th April 2013

“Stenz gets the proportions exactly right. He plunges us into the delirium of the melancholy hero's addled brain with a clarity pointing forward to Schoenberg's First Chamber Symphony...Adventurous Alban Gerhardt is vivid as Quixote takes several tumbles...The peerless viola player Laurence Power is luxury casting as an equally human Sancho Panza. No stars needed to be drafted in for one of the best Till Eulenspiegels on disc...an irrepressible performance.” BBC Music Magazine, May 2013 *****

“Gerhardt and Power convey the complex nature of the relationship between the two...Stenz's conducting is all about the cumulative impact of small gestures rather than grand statements. We're conscious throughout of the classical form at the work's heart, though Stenz is also marvellous when it comes to those astonishing moments when the Don's fantasies assume a transcendent reality greater than anything on earth. It's nigh-on perfect.” The Guardian, 11th April 2013 *****

“[Power and Gerhardt are] both magnificent, and neither distorts the work's shape with excessive ego displays. This is a sublime, idiomatically phrased performance, given by the very orchestra which premiered the work. So you’d expect something special. The moments of quiet rapture are divine...The high points are too numerous to list” The Arts Desk, 13th April 2013

“an excellent account of Don Quixote. The catalogue isn’t exactly short of fine recordings but this one competes with the best. Gerhardt and Power are marvellous principals but they manage to project their characters splendidly while giving us a sense also that they are primus inter pares, as Strauss intended.” MusicWeb International, 22nd April 2013

“pictorial points are in general well made; the scenes are colourfully set; and both Gerhardt and Power are such fine, sensitive and expressive musicians that they encapsulate the varied moods of their protagonists poignantly and purposefully. Markus Stenz attacks Till Eulenspiegel with vigour” Gramophone Magazine, May 2013

BBC Music Magazine

Disc of the month - May 2013

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Schumann: Chamber Music

Schumann: Chamber Music


Schumann:

Adagio and Allegro in A flat major, Op. 70

Richard Watkins (horn) & Ian Brown (piano)

Märchenbilder (4), Op. 113

Lawrence Power (viola) & Ian Brown (piano)

Fantasiestücke, Op. 73

Richard Hosford (clarinet) & Ian Brown (piano)

Märchenerzählungen (4) for Clarinet, Viola & Piano, Op. 132

Richard Hosford (clarinet), Lawrence Power (viola) & Ian Brown (piano)

Romances (3), Op. 94

Gareth Hulse (oboe) & Ian Brown (piano)

Violin Sonata No. 1 in A minor, Op. 105

Marianne Thorsen (violin) & Ian Brown (piano)


Among Schumann’s inspired late chamber works is a collection of music for more unusual instruments, composed in a concentrated flurry of creativity between 1849 and 1853 and written specifically for particular players, and it is to these exquisite short works that the world-famous Nash Ensemble turns its impeccable collective musicianship.

While Schumann modelled his music specifically to the timbres of the instruments he wrote for—piano, violin, horn, clarinet and oboe—he also arranged these pieces for alternative instruments with an eye to maximizing sales. Here, however, the soloists from The Nash Ensemble present the works in their original scoring in what are bound to be definitive performances—the delicious Fantasiestücke for clarinet, and the fiery and lyrical Märchenbilder, which feature star British viola player Lawrence Power. Other delights include the Adagio and Allegro for horn, a brilliant showpiece, the Violin Sonata No 1, Drei Romanzen for oboe and piano and the Märchenerzählungen for clarinet, viola and piano.

“how thoroughly each one of these performers warms to his or her allotted task (perhaps 'role' would be a better word), though it's violinist Marianne Thorsen and pianist Ian Brown in the Sonata who steal the show. It makes a superb finale to a disc that works equally well whether you sample individual pieces or savour it as a whole.” BBC Music Magazine, July 2012 *****

“affectionate and technically irreproachable performances...The five woodwind and string players of the Nash Ensemble respond ideally to this music - music which surely they have known and loved throughout ther playing lives - and Ian Brown is an ever-sensitive collaborative pianist...Unique and compelling from beginning to end.” Gramophone Magazine, September 2012

“This is an admirably compilation of consistently fine performances of almost all of Schumann's shorter chamber music for one or two instruments and piano, and as such is most valuable as a collection...The performances throughout...are each beyond criticism. In particularly I admire also the slightly varied balance between the instruments...another fine record from this consistently first-class company.” International Record Review, May 2012

“The Nash players are British chamber-music royalty, but it is always an especial pleasure to hear the voluptuous viola sound of Lawrence Power in such an eloquent dialogue with Ian Brown’s piano in the too rarely heard Märchenbilder...A gorgeous, unmissable disc of great, too infrequently heard chamber music.” Sunday Times, 29th April 2012

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Britten: Violin Concerto & Double Concerto

Britten: Violin Concerto & Double Concerto


Britten:

Violin Concerto in D minor Op. 15

Anthony Marwood (violin)

Double Concerto

Anthony Marwood (violin) & Lawrence Power (viola)

Lachrymae for viola & strings, Op. 48a

Lawrence Power (viola)


Long recognized as an outstanding chamber musician, Anthony Marwood has more recently been making waves as a concerto soloist, with two contributions to the Romantic Violin Concerto series and now a disc of Britten with the BBC Scottish Symphony Orchestra and Ilan Volkov. The youthful Violin Concerto, with its mix of anguished lyricism and changeability of mood nods to both Berg (whose own Violin Concerto had made a profound impression on Britten) and Prokofiev but the result is entirely personal.

The still earlier Double Concerto, for violin and viola, is impressive above all for its precocious confidence; written when Britten was just eighteen and still a student at the Royal College of Music, it had to wait sixty-five years before receiving its belated premiere in 1997 at the 50th Aldeburgh Festival. Anthony Marwood is joined by star violist Lawrence Power (who makes two appearances in Hyperion’s new releases this month). The viola was Britten’s own instrument and his Lachrymae, inspired by a Dowland song, brings us to the other end of his career, for though it was composed in 1950, it wasn’t orchestrated until 1976, the year of his death.

Read Presto's complete review of this disc here.

“This latest version is one of the best so far. Anthony Marwood's slightly detached, rhythmically incisive playing suits the dry, distantly neoclassical world of the Concerto perfectly, and Ilan Volkov marshals an equally crisp accompaniment. Nevertheless, the performance of the Double Concerto for violin, viola and strings seems even more remarkable...it [is] made to seem a wonderfully distinctive and characterful work.” The Guardian, 2nd February 2012 ****

“Anthony Marwood can hold his bowing arm high...with this bittersweet, sinuously virtuosic account of a work that repays repeated listening and vindicates Britten’s faith in it. He is joined by Lawrence Power for a sumptuous account of the early (1932) Double Concerto...A brilliantly planned, played and recorded release.” Sunday Times, 12th February 2012

“This is a lithe, spiky rhythmical performance, bristling with satire in the Shostakovich style, at speeds well ahead of Britten's own. There is some lack of aural beauty...but every phrase is highly charged...Could this be a more telling depiction of the 1930s than the bittersweet sentiment found on the composer's own recording decades later?” Gramophone Magazine, March 2012

“Has the opening Moderato’s edgy lyricism ever sounded so tantalisingly seductive? Marwood goes on to capture the sinewy vitality of the middle movement and, no less brilliantly, the quixotic moods of the closing Passacaglia...Power’s big tone and bewitching agility give [Lachrymae] a stature that belies its modest duration.” Financial Times, 24th February 2012 ****

“This is a highly distinguished recording, very intelligently planned and exceptionally well executed...For me, the greatest revelation on this disc is the Double Concerto...the performance on this disc by Marwood and Lawrence Power reveals it to be an astonishing achievement as a work of art on several levels...Volkov has this style of composition almost in his blood and follows Power admirably [in Lachrymae].” International Record Review, February 2012

“Aided by the alert Ilan Volkov, Anthony Marwood and Lawrence Power form a persuasive partnership...we are left in no doubt about the levels of searing commitment behind Marwood's performance. It's rounded off by Power's deeply thoughtful and refined account of the Lachrymae.” BBC Music Magazine, April 2012 ****

“[Lachrymae is] exquisite, beautifully played here by Lawrence Power...Volkov’s BBC Scottish SO relish the first movement’s spiky, quirky invention and are a superb foil for Anthony Marwood in the central danse macabre [of the Violin Concerto]...It’s a compelling work, and this is a wonderful recording.” The Arts Desk, 17th March 2012

“Marwood plays with a rich and singing tone, making light of the technical difficulties...The orchestra perform the difficult second movement with impressive precision and together with Marwood and conductor Ilan Volkov this is a tremendously committed and touching performance.” Chris O'Reilly, Presto Classical, 30th January 2012

Presto Disc of the Week

30th January 2012

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Vaughan Williams/McEwen: Flos Campi & Viola Concerto

Vaughan Williams/McEwen: Flos Campi & Viola Concerto


McEwen:

Viola Concerto

Vaughan Williams:

Suite For Viola And Orchestra

Flos Campi


Lawrence Power has established himself as the most sought-after violist of his generation and his sumptuous tone and persuasive interpretations have lead to many comparisons with the pioneering British violist Lionel Tertis. Indeed, the three works on this disc were written for Tertis, who did so much to broaden the instrument’s musical repertoire and raise its status to an accepted solo instrument.

The two Vaughan Williams works display an unabashed romanticism and pastoral elegance. Flos Campi, meaning ‘Flower of the field’, was completed in 1925 and puzzled audiences with its ambiguous form and unusual orchestration.

Despite the prominent solo viola and wordless chorus, it is neither a concerto nor a choral work. The seamless viola line moves in unity with the orchestra and the chorus appears as a body of instruments, creating an effect of mesmerizing beauty and calm. The little-performed Suite for viola and small orchestra was written ten years later and contains some of the composer’s most lyrical inventions.

The lush orchestration and memorable themes in Sir John McEwen’s 1901 concerto expose this large-scale work as a neglected gem of the viola repertoire and Power’s performance is sure to set a new benchmark. The BBC National Orchestra of Wales, under the expert and unfailingly sensitive guidance of Martyn Brabbins, provides expert backing throughout.

“Lawrence is the perfect advocate for both [Vaughan Williams] works, with his rich, warm, sensuous tone and flamboyant virtuosity. His playing is just as persuasive in the Viola Concerto of the Scot John McEwan...This is easy-going late-Romantic music, with several nods to Brahms..the disc is unmissable for [Power's] immaculate VW” Sunday Times, 6th November 2011

“Lawrence Power, using an Italian viola made in 1610, plays with a tone as dark as a cello, and a technique as agile as a violinist's: the ideal combination. The largely neglected Scottish composer John Blackwood McEwen wrote his ambitious viola concerto in 1901 – a lyrical, almost Brahmsian work worth discovering...decidedly a favourite of 2011.” The Observer, 13th November 2011

“John McEwen’s Viola Concerto is a warm-hearted piece played with commitment by Power, while the two works by Vaughan Williams bring out the viola’s tender melancholy.” The Telegraph, 11th November 2011 ***

“[Power's] every phrase pulsates with an inner glow. He also captures unerringly the sense of mystery and veiled threat that haunts the unforgettable Flos Campi...The McEwen Concerto is a three-movement barnstormer in the Bruch tradition, which Power plays with a majestic virtuosity that fires on all cylinders.” Classic FM Magazine, February 2012 *****

“Power makes a strong case for [the Suite], investing in it playing of great power, focus and warmth...[Flos Campi] has not been better recorded than here.” Classical Music, 19th November 2011 ****

“Power's playing is wonderfully varied, at times delicate and poetical, at others broad, passionate and generous. This is especially so in the case of the two works by Vaughan Williams...This is a must-have for all lovers of Vaughan Williams and British music in general!” Gramophone Magazine, December 2011

GGramophone Magazine

Editor's Choice - December 2011

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Bach, J S: Goldberg Variations, BWV988

Bach, J S: Goldberg Variations, BWV988

arranged for string trio by Dmitry Sitkovetsky


Leopold String Trio: Isabelle van Keulen (violin), Lawrence Power (viola) & Kate Gould (cello)

This is a welcome new disc from the brilliant Leopold String Trio, one of the stars in Hyperion’s chamber-music galaxy.

The Goldberg Variations stands as one of the greatest keyboard works ever written. Composed for a two-manual harpsichord, its universal musical language and distinct voicing has made it a popular subject for arrangement, including those for two pianos by Joseph Rheinberger, for woodwind quartet by Andrei Eshpai, for organ by Jean Guillou, and for solo guitar by József Eötvös, as well as the brilliantly re-imagined Gilded Goldbergs by Robin Holloway (recorded on Hyperion CDA67360). Dmitry Sitkovetsky’s arrangement was made in 1985 to celebrate the 300th anniversary of Bach’s birth, and it is dedicated to the memory of Glenn Gould, whose celebrated 1955 Columbia recording of the Goldberg Variations became an instant best-seller and introduced a whole generation to this extraordinary music. Sitovetsky’s arrangement produces fascinating and delightful results, especially in this vigorous and sensitive performance from the Leopold String Trio.

“The advantage of strings over keyboard is the ability to sustain and swell a note. The Leopolds exploit this in Variation VI 'Canon at the 2nd', burning into the juicy abrasions, which on keyboard only die away. The beautifully played pizzicato Variation XIX sounds like the harpsichord's lute-stop which a piano cannot even dream of.” Classic FM Magazine, October 2011 ***

“The Leopolds meet most of the challenges but rather float in and out of the grander scheme, thereby creating a performance of symmetrical, formalised units (all repeats applied). Many of the movements are strikingly effective and yet achieved without a particularly incremental sense of their place within an emotional map; it's mainly a case of responding afresh to each "new" event” Gramophone Magazine, Awards Issue 2011

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