Aureole etc.

Golden Age singers

Nimbus on-line

Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett

Blues for D.D. -
Jeffrey AGRELL
Sonata -
Serenade -
Yananda/Ulpirra -
Five pieces for oboe/Duo concertante -
Diana Doherty (oboe)
David Korevaar (piano)
Recorded 1999
ABC CLASSICS 465 782 - 2 [74.18]

ABC shop (Australian dollars)


This is a first-class player who has put together an attractive compilation of works largely unknown to those whose main awareness of the oboe, is centred on the first 'organised' note given by a player to his or her orchestral colleagues before a concert. Jeffrey Agrell's two versions of the Blues number he wrote for Ms Doherty four years apart, the first unaccompanied the last version accompanied by piano is a delightful start and conclusion to the disc, wittily constructed, complete with clarinet type 'bending' notes such as those found at the opening of Gershwin's Rhapsody in Blue. Her playing exudes enthusiasm and life, a wonderfully agile, elfin-like figure springs to mind, and lo and behold there she is doe-eyed and diminutive but a packed-with-energy figure. If you don't believe the last description, listen to the end of track eleven, it'll scare the living daylights out of you every time you hear it. I'll say no more except to compliment the composer of this pair of tracks, Ross Edwards, on his marvellously inventive writing. Daniel Schnyder's easy-going, accessible harmonic language is embodied in his sonata, four compactly constructed movements which lead the listener towards the more substantial works on the disc by Jolivet and the conductor-composer Antal Dorati. The former's very French, almost Poulencian style is warmly played and lovingly shaped by this talented musician, now based in her native Australia as principal oboe with the Sydney Symphony Orchestra after high-profile posts in European orchestras. She is technically very fine, highly assured and one of those oboists who mercifully does not take great gasps between phrases (which usually compels their audiences to gasp for breath too). Dorati, who wrote his oboe compositions for Heinz Holliger, makes much of his Hungarian origins in his five pieces which each tell a different story, like folksongs for the oboe. With their Bartokian pentatonicism and modal melodies, Diana Doherty plays them utterly convincingly, evoking disparate images of a cricket and an ant, caressing her oboe in sound as it writes a love-letter, and concluding with literally a spoken and played magical sleight of hand.

For aficionados of the oboe and for those keen to get better acquainted with what the instrument can do I cannot recommend this disc highly enough - oh and don't forget what I said about the end of track eleven (Haydn's Symphony No. 94, second movement? - you ain't heard nothing yet!)

Christopher Fifield


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