Robert Plane: Contrasts, Impressions of Hungary
View record and artist detailsRecord and Artist Details
Composer or Director: Leó Weiner, György Kurtág, Béla Bartók, Tibor Serly, Miklós Rózsa, Ernö Dohnányi
Genre:
Chamber
Label: Champs Hill
Magazine Review Date: 10/2017
Media Format: CD or Download
Media Runtime: 83
Mastering:
DDD
Catalogue Number: CHRCD132
Tracks:
Composition | Artist Credit |
---|---|
Contrasts |
Béla Bartók, Composer
Béla Bartók, Composer Benjamin Frith, Piano Lucy Gould, Violin Robert Plane, Clarinet |
Sonatina for solo clarinet |
Miklós Rózsa, Composer
Miklós Rózsa, Composer Robert Plane, Clarinet |
Chamber Folk Music |
Tibor Serly, Composer
Benjamin Frith, Piano Lucy Gould, Violin Robert Plane, Clarinet Tibor Serly, Composer |
Hommage à R. Sch |
György Kurtág, Composer
Benjamin Frith, Piano David Adams, Viola György Kurtág, Composer Robert Plane, Clarinet |
Two Movements |
Leó Weiner, Composer
Benjamin Frith, Piano Leó Weiner, Composer Robert Plane, Clarinet |
Sextet |
Ernö Dohnányi, Composer
Alec Frank-Gemmill, Horn Alice Neary, Cello Benjamin Frith, Piano David Adams, Viola Ernö Dohnányi, Composer Lucy Gould, Violin Robert Plane, Clarinet |
Author: Richard Whitehouse
Of the shorter works that ensue, Miklós Rózsa’s pert and economical Sonatina (1957) might surprise those who know this composer merely from his epic film scores, while Chamber Folk Music (1949) sees Tibor Serly handling his material with a resourcefulness akin to his realisation of Bartók’s Viola Concerto. Very different in overall aesthetic, György Kurtág’s Hommage à R Sch (1990) finds this composer at his most hermetic, the fleeting brevity of its first five numbers complemented by a final ‘Abschied’ with its fugitive withdrawal into silence. Quite a contrast with the Two Movements (1951) in which Leó Weiner underlines his attractively understated handling of folk music within modest and refined dimensions.
Finally, to Ernő Dohnányi and the Sextet (1935), which is his last substantial chamber work. As often in this composer’s maturity, outwardly conventional formal design is belied by the dexterity of its motivic ideas as they evolve across and between movements – the finale an extended coda to what went before as it rounds off matters with the deftest tonal sideslip.
Plane’s musicianship is abetted throughout by that of his colleagues, the whole well served by lucid recorded sound and an insightful booklet note from Daniel Jaffé. Collecting such a programme by other means would not be easy; better simply to acquire this disc and enjoy.
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