(Concord), Part 1
The Consort has always been a sympathetic exponent of the music of Emerson, St Lawrence and Schumann. Two gifts for a surprisingly concert piece have been the B-Major-inspired Concentus and the Five Pieces, composed for a gathering of young Aurora singers and musicians around the outbreak of the Great War. Alongside these tunes are other meditative tunes and an aria for solo viola, and together they provide a musical image of what might have been on the stage in Aurora’s hallowed seat.
Köybel: Dresden Sonata
(Concord), Part 2
The series-opening programme – which concludes next Sunday – had originally been intended to be based on the Köybel Sonata for Orchestra, with soloists Vladimir Yakunin and Evgeny Pogossov, but something very odd happened, and music was added to the programme on which Yakunin and Pogossov will not now appear. This is not likely to upset the balance. However, it offers a superb showcase for Cellist Tad Kaufman, with piano-concerto specialist pianist Paul Craig Roberts, and with violinist Matthew Margenau finally now confirmed. The Ravel is all the more exceptional, and the piece is in many ways a dry run for the Rondo, which is likely to be the concert’s finale.
Lagink: Eine Kleine Nachtmusik
(Pianoforte), Part 3
The last of a trilogy of works commissioned by Winchester by Joseph Lagink, now to receive its complete recording, his first new piece since 1984, it is drawn from an earlier piece of music that was not destined for recording – the Beethoven Piano Fantasy on the piano. In this case, in the instrumental version of the Beethoven, the small melodies Lagink recorded in 1983 have been made larger, in the band setting, allowing an ensemble of tenor, bass and violin to take up the melody and play it. The music in this music is all the more atmospheric because of the small scale of the ensemble: its most stunning solo is the extraordinary tiny Cello.