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The final volume of Alwyn’s orchestral music in this landmark Naxos series.
William Alwyn’s prolific output included descriptive scores, and The Moor of Venice Dramatic Overture examines the turbulent central character in Shakespeare’s Othello. The Serenade and the orchestral version of Seven Irish Tunes receive première recordings here, both covering a wide range of moods.
Following the previous recording of Concerto Grosso No. 1, this collection includes Concerto Grosso No. 2, scored for strings only and Concerto Grosso No. 3, a tribute to Sir Henry Wood.
William Alwyn: The Moor of Venice (arr. P. Lane for orchestra)
The Moor of Venice (arr. P. Lane for orchestra)
William Alwyn: Concerto grosso No. 2
I. Allegro moderato e vigoroso
II. Adagio ed espressivo
III. Vivace (allegro ma non troppo)
William Alwyn: Serenade
I. Prelude: Andantino - Tranquillo - A tempo
II. Bacchanal: Moderato (poco allegro) - Allargando - A tempo
III. Air: Andante molto tranquillo e semplice
IV. Finale: Allegretto - Moderato e molto tranquillo - Presto - A tempo primo (l'istesso tempo)
William Alwyn: 7 Irish Tunes
No. 1. The Little Red Lark: Andantino
No. 2. Country Tune: Allegretto giocoso
No. 3. The Maiden Ray: Moderato e grazioso
No. 4. Reel: The Ewe with the Crooked Horn: Allegro vivace
No. 5. The Gentle Maiden: Andante e semplice
No. 6. The Sigh: Allegretto (quasi andantino e poco dolente) - Piu lento
No. 7. Jig: Allegro e giocoso - poco tranquillo - Tempo primo
William Alwyn: Concerto grosso No. 3
I. Maestoso - Moderato e ritmico
II. Andante - Vivace
“the music is just a delight to listen to: not just as a pleasurable background noise, but for the way it entertains while elegantly dodging the predictable at every turn...The performances are lovely, with David Lloyd-Jones approaching each score...on its own terms.”
“Lloyd-Jones, as you would expect of a past master in this repertoire, leads his polished Liverpool players in atmospheric performances of tender affection.”
28th August 2011
“No one would pretend that most of William Alwyn's music is anything other than light, but it is beautifully crafted and instantly engaging...it is No 3, written 18 years later, that is the highlight of this collection, so much more arresting in its dark and impassioned patina and splendidly played by the RLPO.”
6th August 2011
“The serious stuff lies mainly in the tonal but astringent Concerti Grossi Nos 2 and 3. But Alwyn’s cinematic directness is also displayed in The Moor of Venice, orchestrated by Philip Lane from Alwyn’s brass-band original. His music doesn’t convey depths of emotion, but it is superbly crafted and often gorgeously lyrical.”