Search: 6 results found for "It Makes No Difference Abroad"

Spain is my second musical homeland' - Ravel It is not without irony that prior to the 20th century some of the most famous 'Spanish' classical music was written by the French! Romantic-era intellectuals saw Spain as a seductive and magical attraction, with it's Moorish-style palaces and gardens, festivals, bullfights, costumes, castanets, and flamenco dancing and while Bizet's Carmen carries the greatest weight, pride of place actually goes to Camille Saint-Saëns whose 1863 Introduction and Rondo capriccioso for violin and orchestra already bore a Hispanic flavor (Carmen would not be written for another eight years). In Ravel's case, Spain was already in his blood, thanks to the influence of his Basque mother, but it was a marvel to many, including Manuel de Falla, that he should instinctively have achieved such an authentic sense of Spanish style. The idea for this project was the result of conductor Pierre Bleuse's desire to immerse himself with the musicians of the Odense Symphony Orchestra in the music of Ravel, especially the composer's Spanish-influenced music. The musicians have captured all the colors and details of articulation needed to bring this extraordinary music to life. French conductor Pierre Bleuse has established himself as one of the most dynamic and versatile musicians of his generation. Since 2021 he has served as Music Director of both the Ensemble intercontemporain in Paris, the Odense Symphony Orchestra and Artistic Director of the Pablo Casals Festival in Prades. Bleuse is particularly admired for his interpretations of the French orchestral repertoire, especially Ravel. As you will hear on his OUR Recordings debut, his performances balance elegance with dramatic intensity, revealing both the brilliance of the orchestration and the expressive depth beneath it's shimmering surface.

THE BASSOON ABROAD: Foreign Composers in Britain • Jennifer Harris (bn); Ens Chameleon • CARUS 83.463 (69:25)

GALLIARD 6 Sonatas for Bassoon/Cello and Basso Continuo: No. 1 in a; No. 2 in G; No. 5 in d; No. 6 in C. The Advice. TRAD The Bush aboon Traquair. The Flowers of Edinburgh. The Lass of Pattie’s Mill. MERCI 6 Sonatas for Bassoon, op. 3: No. 1 in B?; No. 3 in E?; No. 4 in g; No. 5 in c. LAMPE The Solitary Relief. The Maid’s Request

Elsewhere in this volume, I welcome The Proud Bassoon , a recital of German and French bassoon works from the late Baroque period played by the Scottish Baroque bassoon virtuoso Peter Whelen. Now, here from the same package of goodies sent by publisher Joel Flegler, is another recital of Baroque bassoon works, played by a different outstanding proponent of the instrument, English-born Jennifer Harris. These are works primarily of the French (despite the name) composer Luigi Merci and German composer John Ernest Galliard, both of whom immigrated to England to become part of the lively music scene dominated by another German, George Frideric Handel. Harris, incidentally, has made the counter-move, having transplanted to Germany for her advanced studies and subsequent career as an orchestral and chamber musician. She is currently professor of Baroque bassoon at the Conservatory of the City of Vienna University.

The two principal composers are not well known. Galliard moved to England by way of the Court of Denmark to become chapel-master of Somerset House in London. Merci served James Brydges, first Duke of Chandos, before moving to London as well. Among the few surviving works, both produced a set of six sonatas for bassoon and continuo, four each of which Harris has chosen as the core of this recital. They are remarkable for their timing—the bassoon was just coming into its own as a solo instrument at the time of their composition and publication—and for their quality and variety of style. While not masterpieces on the exalted plane of Handel, they display the considerable melodic gift of their creators, and are substantial works which suggest the discernment and playing skill of the public which bought them for home music-making.

Like the works on The Proud Bassoon , these sonatas often require a soloist of considerable skill to pull them off. New instruments based on surviving period bassoons, courses of study to teach the instrument with its complex, very different fingerings, and still others to teach period performance practice, are now resulting in a crop of outstanding proponents of the instrument and this repertoire. Harris is clearly one of these, and she and the remarkable artists of Ensemble Chameleon are making a most impressive CD debut with this outstanding release. The works may not be masterpieces, but the performances are, with Harris’s imaginative, charismatic, and always virtuoso performances ably seconded by the other four members of Ensemble Chameleon. They are so good they should be named individually: Ulrike Becker plays Baroque cello; Barbara Messmer, violone; Andrea Baur, lute; and Evelyn Laib, harpsichord. The often subtle, continually varied sonorities produced as accompaniment are a constant delight, with the alternate use of plucked strings and harpsichord especially nicely done. Tempos are lively but avoid the Lamborghini-like approach of some ensembles from farther south.

Solo honors are shared a bit. The ensemble, sans bassoon, plays German composer John Frederick Lampe’s ballad The Solitary Relief , taken from a 1756 song collection Apollo’s Cabinet , and Harris joins them for a sampling of Scottish airs from the same collection. Laib takes a solo turn in the same composer’s The Maid’s Request . Becker and Baur play a Galliard ballad, The Advice . They are as impressive individually as collectively.

Carus, known for its superbly engineered releases, has added yet another to its catalog. Notes by the soloist, to which I am indebted, are lively and informative, and provide, along with the context of the works, a clever motivation for the program concept. She also makes an interesting connection between the period settings of Scottish airs interspersed among the sonatas, and the music of Merci and Galliard. All in all, presentation and music, the release is perfect. Some admirers of late Baroque music may shy from this disc because of the drier, stuffier quality of the Baroque bassoon. That would be a shame, as the sonority is ideal for the music and the ensemble. and the music is a delight. Highly recommended.

FANFARE: Ronald E. Grames

A violinist-conductor who understood orchestras from the inside out: commanding power and Viennese warmth in the complete Decca symphonic recordings of Walter Weller. As the youngest ever leader of the Vienna Philharmonic, Walter Weller quickly established a natural rapport with orchestras at home and abroad when he swapped bow for baton in the late 1960s. Engaged as a regular conductor by the Vienna State Opera, he made his debut as a conductor in the studio with a 1970 recital of arias with the Spanish soprano Pilar Lorengar. As leader of the Weller Quartet, he was no stranger to Decca's studios, but he disbanded the quartet to focus on conducting. In Geneva with the Suisse Romande orchestra, then in London with the London Philharmonic Orchestra and London Symphony Orchestra, he brought his insider's knowledge of orchestral technique to bear on mostly Russian symphonies through the course of the 1970s. Critics identified Weller's total grasp of complex scores and his ability to get a rich yet transparent sound from his orchestras. The First and Ninth symphonies of Shostakovich in 1971 were followed up by equally acclaimed complete cycles of Rachmaninoff and Prokofiev. In 1974, Weller also made a compelling account of the Symphony by Paul Dukas, in this underrated work's first recording on a major label. Decca's full-frequency sound complemented the burnished gleam of string timbre which Weller elicited wherever he went. He proved a sympathetic and alert accompanist to Pascal Roge in a 1974-76 cycle of the Bartok piano concertos, and then drew on his own Czech heritage for a broad and loving traversal of Smetana's Ma vlast with the Israel Philharmonic. Near the close of his relationship with Decca (1979-82), Weller then returned to the repertoire he had grown up with as the son of a Vienna Philharmonic violinist, recording the Hungarian Dances of Brahms and the violin concertos of Mozart with the Japanese soloist Mayumi Fujikawa. This set stood out from the competition by including the two concertos published under Mozart's name after his death, later deemed spurious, but highly attractive in their own right. Accompanying this Original Jackets collection, Peter Quantrill contributes a new essay on Walter Weller's life and career, paying tribute to a true son of Vienna.

Divine Art is delighted to present the February 2026 release of The Girl from the French Fort, an enchanting narrated orchestral work by Beijing-based composer and conductor Nicholas Michael Smith based on a children's story by acclaimed Chinese author Hong Ying. Gerry Cornelius conducts the New Music Players, with English narration by Timothy Bentinck, best known for voicing the role of David in BBC Radio 4's The Archers. It will be coupled on the album with a version of the recording narrated in Mandarin by Niki Yan, who has starred in many Chinese and international films and TV dramas. Hong Ying was intrigued by the old barracks she encountered on the banks of the Yangtze River when she was a child and turned it into a story for her own daughter, which has now been published with delightful illustrations by Cherry Denman. Set in 1970s Chongqing, The Girl from the French Fort tells the magical tale of a curious boy, Sangsang, who forms an unlikely friendship with a mysterious girl living inside the old French fort high above the Yangtze River. She draws him through ancient doors into a hidden, dreamlike world where time flows differently and everyday realities are charged with wonder and strangeness. What unfolds is a story of childhood, love, loss, and the gentle resourcefulness that helps us endure it all, enjoyable for children and grown-ups alike. Structured in the tradition of Prokofiev's Peter and the Wolf (a work with which it is often programmed), the piece blends narration with orchestral colour to vivid effect-capturing the story and it's shifting emotional landscape. Nicholas Michael Smith has lived and worked in China for over thirty years, and in 2011 was awarded an OBE in recognition of his services to music and to UK-China relations. Among his achievements has been presenting the Chinese premiere of Handel's Messiah and setting up several choirs and orchestras. He has a distinctive and complex musical language: at times, his melodic lines float freely around a tonal centre, moving in the circularity of the pentatonic scale that is core to much traditional Chinese music; at other points, his music is propelled by the harmonic tensions and chromatic development of Western classical tradition. These elements are woven in dialogue-each seamlessly enriching the other. The Girl from the French Fort is a poignant example of storytelling through music-lyrical, playful, and quietly resonant-a work that belongs to a creative life dedicated to building bridges between cultures. It has been enthusiastically received in China and already performed many times - it was described by Gramophone Magazine after it's UK premiere as "genuinely moving". Gerry Cornelius was born of Irish & Sri Lankan parentage. While his roots are firmly in opera, he has been active in all the main musical and theatrical genres throughout his career. He has had longstanding associations with a broad spectrum of ensembles, arts companies, and education institutions in the UK and abroad, both as a conductor and performer, and has been involved in many world premiere productions. He was Head of Music and Associate Conductor of the National Youth Orchestra of Great Britain and is currently Music Director of English Touring Opera.

Search results: Search results

6 results

Products

Ravel Abroad

The Bassoon Abroad - Foreign Composers In Britain / Harris, Ensemble Chameleon

WALTER WELLER: DECCA LEGACY

The Girl From the French Fort

Chamber Music with Flute

#51 - Helmut Lachenmann, Vol. 2