Thomas Wilson Piano Concerto; Introit
View record and artist detailsRecord and Artist Details
Composer or Director: Thomas Wilson
Label: Chandos
Magazine Review Date: 10/1988
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: ABTD1315
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra |
Thomas Wilson, Composer
Bryden Thomson, Conductor David Wilde, Piano Royal Scottish National Orchestra Thomas Wilson, Composer |
Introit, 'Towards the Light...' |
Thomas Wilson, Composer
Bryden Thomson, Conductor Royal Scottish National Orchestra Thomas Wilson, Composer |
Composer or Director: Thomas Wilson
Label: Chandos
Magazine Review Date: 10/1988
Media Format: CD or Download
Media Runtime: 52
Mastering:
DDD
Catalogue Number: CHAN8626
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra |
Thomas Wilson, Composer
Bryden Thomson, Conductor David Wilde, Piano Royal Scottish National Orchestra Thomas Wilson, Composer |
Introit, 'Towards the Light...' |
Thomas Wilson, Composer
Bryden Thomson, Conductor Royal Scottish National Orchestra Thomas Wilson, Composer |
Composer or Director: Thomas Wilson
Label: Chandos
Magazine Review Date: 10/1988
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: ABRD1315
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra |
Thomas Wilson, Composer
Bryden Thomson, Conductor David Wilde, Piano Royal Scottish National Orchestra Thomas Wilson, Composer |
Introit, 'Towards the Light...' |
Thomas Wilson, Composer
Bryden Thomson, Conductor Royal Scottish National Orchestra Thomas Wilson, Composer |
Author: Arnold Whittall
The Piano Concerto seems to me the best of the two. Introit demonstrates well-tried routines, especially in its two fast sections, well done of their kind but failing to transcend the obvious, and the hushed serenity of the final section doesn't compensate sufficiently for the neutral character of the central Adagio.
The concerto is bolder, as if the sheer enormity of the challenge the form presents to the present-day composer put Thomas Wilson on his mettle. The opening, reflective solo and the powerful tutti it provokes convince both in their claims on the listener's attention and in their function as the first stages of an extended structure. Occasionally the faster music—the start of the third movement, for example—seems too stable and well-mannered in its rhythms to promote a sufficiently imposing build-up, but the work as a whole keeps energy and expressiveness in efficient balance. The result is well-argued, not merely well-made. I have some reservations about the recording—or at least about the state of the piano in more robust passages—while the orchestral sound lacks something in fullness and brilliance. But David Wilde is an authoritative soloist and the SNO under Bryden Thomson are strong and positive throughout.'
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