Rawsthorne Orchestral Works
An exemplary Rawsthorne concert, featuring two world-premiere recordings
View record and artist detailsRecord and Artist Details
Composer or Director: Alan Rawsthorne
Genre:
Orchestral
Label: Naxos
Magazine Review Date: 2/2001
Media Format: CD or Download
Media Runtime: 72
Mastering:
DDD
Catalogue Number: 8 554763
Tracks:
Composition | Artist Credit |
---|---|
Symphonic Studies |
Alan Rawsthorne, Composer
Alan Rawsthorne, Composer David Lloyd-Jones, Conductor Royal Scottish National Orchestra |
Concerto for Oboe and String Orchestra |
Alan Rawsthorne, Composer
Alan Rawsthorne, Composer David Lloyd-Jones, Conductor Royal Scottish National Orchestra Stéphane Rancourt, Oboe |
Concerto for Cello and Orchestra |
Alan Rawsthorne, Composer
Alan Rawsthorne, Composer Alexander Baillie, Cello David Lloyd-Jones, Conductor Royal Scottish National Orchestra |
Author: Andrew Achenbach
David Lloyd-Jones directs a swaggering, affectionate and ideally clear-headed account of Rawsthorne’s masterly Symphonic Studies (1939), one of the most stylish and exuberantly inventive products of British music from the first half of the last century. The work displays a formal elegance, impeccable craftsmanship and healthy concision that are mightily exhilarating. It is indeed, as John Belcher observes in his thoughtful booklet-essay, an impressively assured orchestral debut, its tightly knit 20-minute span evincing a remarkable emotional scope (though the allocation of index points for the five extended variations that follow the imposing Maestoso introduction would have been a boon for first-time explorers). As I say, the present, finely prepared display must be deemed a great success – a worthy successor, certainly, to both Constant Lambert’s classic 1946 Philharmonia version (now happily restored on Pearl) and Sir John Pritchard’s admirable 1975 Lyrita recording with the LPO (4/77 – nla).
First heard at the 1947 Cheltenham Festival, the Concerto for Oboe and String Orchestra was composed for Evelyn Rothwell. Brimful of gentle melancholy, it’s another delectably clean-cut creation, whose touchingly eloquent first movement is succeeded by a wistfully swaying, at times cryptic Allegretto con morbidezza and a spirited, though never entirely untroubled Vivace finale. Impeccable solo work from RSNO principal oboe Stephane Rancourt and a commendably spick-and-span accompaniment to match.
There’s another first recording in the guise of the Cello Concerto, a Royal Philharmonic Society commission from 1965. This is a major achievement, a work to rank beside Rawsthorne’s superb Third Symphony and Third String Quartet of the previous year in its unremitting concentration and nobility of expression. A strongly lyrical vein runs through the notably eventful, ever-evolving opening movement (subtitled ‘Quasi Variazioni’), whereas the central Mesto mixes dark introspection with outbursts of real anguish. The clouds lift, however, for the energetic, even rumbustious finale. A substantial, deeply felt utterance, in short, which will surely repay closer study. Suffice it to say, soloist Alexander Baillie gives a stunningly idiomatic rendering; Lloyd-Jones and the RSNO offer big-hearted, confident support.
Apart from a hint of harshness in the very loudest tutti s of the Symphonic Studies, Tim Handley’s engineering is immensely vivid and always most musically balanced. Overall, a wonderfully enterprising triptych and astonishing value for money.'
First heard at the 1947 Cheltenham Festival, the Concerto for Oboe and String Orchestra was composed for Evelyn Rothwell. Brimful of gentle melancholy, it’s another delectably clean-cut creation, whose touchingly eloquent first movement is succeeded by a wistfully swaying, at times cryptic Allegretto con morbidezza and a spirited, though never entirely untroubled Vivace finale. Impeccable solo work from RSNO principal oboe Stephane Rancourt and a commendably spick-and-span accompaniment to match.
There’s another first recording in the guise of the Cello Concerto, a Royal Philharmonic Society commission from 1965. This is a major achievement, a work to rank beside Rawsthorne’s superb Third Symphony and Third String Quartet of the previous year in its unremitting concentration and nobility of expression. A strongly lyrical vein runs through the notably eventful, ever-evolving opening movement (subtitled ‘Quasi Variazioni’), whereas the central Mesto mixes dark introspection with outbursts of real anguish. The clouds lift, however, for the energetic, even rumbustious finale. A substantial, deeply felt utterance, in short, which will surely repay closer study. Suffice it to say, soloist Alexander Baillie gives a stunningly idiomatic rendering; Lloyd-Jones and the RSNO offer big-hearted, confident support.
Apart from a hint of harshness in the very loudest tutti s of the Symphonic Studies, Tim Handley’s engineering is immensely vivid and always most musically balanced. Overall, a wonderfully enterprising triptych and astonishing value for money.'
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