Aureole etc.




Golden Age singers

Nimbus on-line




Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett

BUY NOW 

Crotchet   AmazonUK   AmazonUS

Frederic LAMOND (1868-1948)
Symphony in A major Op. 3 (1889)
Ouvertüre Aus Dem Schottischen Hochlande Op. 4 (1890?)
Sword Dance from Eine Liebe im Hochlande (1890s?)
Eugen d'ALBERT (1864-1932)
Overture to Esther Op. 8
BBC Scottish Symphony Orchestra/Martyn Brabbins
Recorded 4-5 September 2003, Usher Hall, Edinburgh
HYPERION CDA67387 [59.51]

 

This aptly compiled disc brings together two Scottish-born pianists who made their careers in Germany. Both were Glaswegians and D’Albert the older by four years and the more famous, rising to the position of Joachim’s successor as the director of the Musik Hochschule in Berlin. Though d’Albert never stopped his concert tours – dying during one, in fact, in 1932 - composition was a constant of his musical life whereas Lamond never promoted his few compositions. Unlike many of his pianistic-titan contemporaries he was never a morceaux composer either – that would not have appealed overmuch to the Liszt student and acknowledged Beethovenian.

D’Albert’s Overture to Esther is a rare example of his orchestral music. Though he wrote a Symphony and two Piano Concertos it was as an operatic composer that he achieved the greatest renown. The Overture is a particularly good example of a late-Romantic work shot through with vestiges of Mendelssohnian influence. There are some fine orchestral solos, for cor anglais and good horn harmonies, all richly orchestrated, and some of the brass writing is reminiscent of Beethoven’s in his overtures. It’s a crisp, confident, unaffected work and enjoyable.

Lamond bears the lion’s share of the disc though. His Symphony in A major was his Op.3, begun when he was in his early twenties and published in 1893 in Frankfurt. It bears all the marks of his Brahmsian inheritance and of a thorough grounding in composition. He spins a delightfully extended waltz section in the first of the four movements, with warm strings and a burnished melody line; he can judge pacing, too, whipping up the tempo at the movement’s conclusion. There’s a bustly, forthright Scherzo and a rather beautiful slow movement with a Ländler feel to it which Lamond allows to be cross-hit by some doleful orchestral intimations only to reprise the Ländler at the close, touched with the briefest of hymnal Amens. The finale is pretty much School of Brahms but well crafted.

His next opus numbered work was the Ouvertüre Aus Dem Schottischen Hochlande, a perky but broadly drawn and mountainously expansive little pictorial piece. It’s full of space and Lisztian drama – muted brass calls across the valleys and the odd saturnine moment imbibed from his teacher in Weimar as well as moments clearly admiringly absorbed from Smetana. The Sword Dance is a fun piece with plenty of drones and reels, colour and Scottishry - it would make for a knees-up concert closer.

The hard-working Brabbins and the BBC Scottish prove fine tour guides to this little-known repertoire. Hyperion’s recorded sound is top notch, the notes are excellent and the disc explores an intriguing corner of the repertoire with refreshing results.

Jonathan Woolf

 



Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
Atoll
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Return to Index

Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.