|Founder: Len Mullenger||
Classical Editor: Rob Barnett
| Souvenir De Florence
Peter TCHAIKOVSKY (1840-93)
Souvenir de Florence in D minor, Op. 70 (1890-2) [34’52]
Ernest BLOCH (1880-1959)
From Jewish Life – No. 1, Prayer (1924, arr. Kindler) [4’53]
Kurt ATTERBERG (1887-1974)
Suite for Violin, Viola and Orchestra, Op. 19 No. 1 [9’50]
Giacomo PUCCINI (1858-1924)
Crisantemi (pub 1890) [5’55]
Richard WAGNER (1813-83)
Wesendonck-Lieder – Traume (1857, arr. Schule) [5’08]
Alberto Lysy (violin); Paul Coletti (viola); Antonio Lysy (cello)
Camerata Lysy, Gstaad/Alberto Lysy
Rec in the Kirche Saanen, Switzerland, in June 1985. DDD
CLAVES CD50-2013 [62’42]
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An offshoot of the International Menuhin Music Academy, the Camerata Lysy Gstaad is a youthful, lively ensemble that here presents a commendably wide-ranging programme.
By far the most substantial piece is Tchaikovsky’s string sextet, Souvenir de Florence. The year 1890 found the composer in Florence, Italy, concentrating on Pique Dame. Anyone who has visited this beautiful and characterful city can hardly have failed to have fallen for its charms, and it would appear that Tchaikovsky was no exception. There is an brio to this ensemble’s playing that is infectious. The third movement (Allegro moderato) displays real determination and internal energy, rising to an effectively dramatic climax. Similarly, the finale is imbued with the dance, although there is some sense of strain from the violins towards the end. The major fault lies with the recording, which is lacking in body, and this detracts slightly throughout the disc.
The principal attraction of this product, then, lies in its varied programming, mixing some arrangements with rarities. Bloch’s Prayer for Cello and Strings is a lovely piece, with an ethnically authentic Jewish accent. The cellist’s well-rounded tone is a definite plus, and he shades the middle section effectively . Nice, also, to encounter some music by Kurt Atterberg in the form of his attractive Suite, Op. 19 No. 1. The second movement, entitled ‘Pantomime’, is delicate and in this performance Alberto Lysy and Paul Coletti show their sensitivity to Atterberg’s dialogue. The finale is infectious, carefree fun, rounding off a most civilised experience.
Puccini’s Crisantemi, for string quartet, is an interesting adjunct to the Puccini one knows from the operatic stage . Only the Wagner raises doubts as to the integrity of this enterprise: it degenerates into background slush, rather than a hypnotic statement of a semi-conscious netherworld.
Worthwhile for the Tchaikovsky and the Atterberg.
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