Aureole etc.

Golden Age singers

Nimbus on-line

Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett


Infinite Heartbeat
Erich Wolfgang KORNGOLD (1897-1957)

Garden Scene from Much Ado About Nothing
Lili BOULANGER (1893-1918)

John CORIGLIANO (b 1938)

Andantino from Violin Sonata
Astor PIAZZOLLA (1921-1992)

Milonga sin palabras
Le Grand Tango
Manuel de FALLA (1876-1946)

Polo Asturiana and Jota from Suite Populaire Espagnole
Sergei RACHMANINOV (1873-1943)

Vocalise Op 34/14

Drink to me only with thine eyes arr Roger QUILTER
Francis POULENC (1899-1963)

Intermezzo from Violin Sonata
Stacy GARROP (b 1970)

Lotsachotomy from Neurotichotomy
Matthew HINDSON (b 1968)

Little Chrissietinaía Magic Fantasy
Stuart GREENBAUM (b 1966)

The Infinite Heart from Violin Sonata
Gordon KERRY (b 1961)

Miki Tsunoda (violin)
Caroline Almonte (piano)
Recorded Iwaki Auditorium of the ABC Southbank Centre, Melbourne 2001-2003
ABC 476 097-2 [63.16]

Wide-ranging and somewhat exploratory this is a disc that lives up to its annotatorís claim that itís a twentieth century travelogue. Of course the corollary is you never stay in one place very long and the same is true of the sonatas that the duo espouse, which are represented by isolated movements (Poulenc, Corigliano, Greenbaum and Garrop). So what might seem a tantalising prospect in the brochure, the equivalent of a three-week holiday in the South Seas, turns out to be the equivalent of island hopping. Another day, another nationality.

Which is not to find fault with the performers or their ambition. But the programme is very bitty and I think their enthusiasms would have been better served Ė and their commitment to the repertoire better supported Ė by a more focused anthology than we have here. Korngoldís Garden Scene from Much Ado About Nothing has always had its stellar adherents but Gil Shaham has led the field on disc; I like Tsunodaís rather husky tone but one shift seems to cause her a mite of difficulty, even though she catches well the pensive moments as well as the gloriously convulsive ones. Lili Boulangerís Nocturne shows that she learned as much from Debussy as she did from Fauré. Iím afraid, though, that we have another duo that feels the need to give us some Piazzolla; I like Milonga sin palabras, itís lyrical and passionate but Le Grand Tango gives fatuousness a bad name. Tsunodaís Jota (they only play three of the Suite Populaire Espagnole) is not over bowed, and not abrasive but her rubati in Rachmaninovís Vocalise are a little precious. She strays into Marjorie Hayward territory in the geographical visit to Blighty, Drink to Me Only With Thine Eyes, in the arrangement by Roger Quilter but this is very light fare indeed when judged against Poulencís desperate Sonata and Coriglianoís clear eyed rhythmic drive in his. Then there are the younger composers. Garropís isolated movement is a scurrying moto perpetuo type affair with tone row emphases and a tango let loose on the feast; Hindson drives motorically, abrasive "death metal" influences (man, Iím too old for death metal, whatever it is) and Greenbaum gives us stillness, albeit with a certain restless feel to it. I liked Gordon Kerryís Dream and its evocation of things Eastern. Iíd like to hear more of him.

The notes by Anna Goldsworthy are invigorating and full and I liked them. In truth Iíve no idea at whom this disc is aimed but in the spirit of its compilation I hope its appeal will be geographically widespread.

Jonathan Woolf



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