Goffredo Petrassi’s long creative life was marked by ceaseless absorption of ideas and by constant invention. His Flute Concerto is notable for its boldness of design and the surprise of its unorthodox sound world, where instruments rotate in block form. The Piano Concerto is more overtly virtuosic, even showing some influence from Prokofiev. The orchestral suite drawn from the ballet La follia di Orlando (The Madness of Orlando) is often clothed in Petrassi’s experimental orchestral sonorities.
The instrumental concerto occupies a very prominent place in the music of Krzysztof Penderecki. This fact is related to the great life force exhibited by this genre in twentieth century and in contemporary music. It is stimulated by commissions from virtuosos and by audience expectations; also favourable is the composers’ flexibility in approaching the form, whose chief idea continues to be the juxtaposition of the solo instrument and the orchestra. The violin and viola works presented on this CD are not only interesting, concrete realizations of the concertare idea in Penderecki’s music, but also examples of this composer’s sonic language and style in the period of his creativity which Mieczyslaw Tomaszewski called a "time of dialogue with the regained past".
The 100th anniversary of Mieczyslaw Wajnberg’s birth in January 2019 is an excellent opportunity to bring his works closer to the Polish audience. Although in the recent years Wajnberg’s works have been performed and recorded more and more often, his music in our country is well known only to a narrow group of recipients. The album of the Amadeus Chamber Orchestra of Polish Radio conducted by Anna Duczmal-Mróz, including three pieces by Wajnberg (Chamber Symphony No. 1, Op. 145, Concerto for flute and strings No. 1, Op. 75 and Chamber Symphony No. 3, Op. 153) allows the recipient to get to know various facets of the composer, starting from the influences of Neoclassicism, ending with inspiration from the works by Dimitri Shostakovich.
Scored for a large orchestra, including triple wind and a raft of percussion, Penderecki’s Piano Concerto, heard here in its 2007 revision first performed by Barry Douglas, renews the composer’s direct involvement with the ‘grand’ concerto tradition that culminated in Rachmaninov and Prokofiev. Its sub-title ‘Resurrection’ refers to the melody based on a chorale of a non-religious character, which gradually make its way into the foreground before emerging with striking power at the work’s climax.
Watkins is one of today’s leading composer-pianists and this album (his second for NMC Recordings) showcases his vibrant, lyrical and impeccably crafted orchestral writing. Both the Flute and Violin Concertos were composed for soloists with whom he already had a close working relationship. Adam Walker is the principal fl autist for the London Symphony Orchestra, who Watkins' describes as having an 'amazing sound and control of his instrument'. The delicate orchestration in the Flute Concerto allows the solo fl ute to take fl ight as it weaves in and out with skittish motifs. Alina Ibragimova is the soloist in the Violin Concerto, premiered at the BBC Proms in 2010. The piece harnesses Ibragimova’s dynamic and intense, fi ercely intelligent playing, switching from attacking virtuosity and molten lyricism, often in an instant. The result is dramatic and utterly compelling.In this album's liner notes, Steph Power writes that Watkins has 'long seemed a symphonist in waiting, with a natural affi nity for big-boned yet fi nely-wrought drama'.
Mozart claimed to dislike the flute and, for that matter, the harp as well which also plays a prominent role in this compilation. But in spite of that, he produced music for the flute in a variety of genres all of which is delightful and much of which is masterful. This release on Philips's "duo" series presents an excellent opportunity for an overview of Mozart's works for flute, well played. It also offers a rare opportunity to hear a variety of performers on the flute and other instruments and orchestras.
The recordings on Sweden's BIS label by Israeli-born flutist Sharon Bezaly have exposed a great deal of neglected and often highly virtuosic repertory, much of its brought within reach by Bezaly's unusual circular breathing technique. She's a remarkable flutist, but it's her repertory selection that really sets her apart from the crowd. She actually throws in some chestnuts, like Cécile Chaminade's Concertino for flute and orchestra, Op. 107, this time around, but the highlight is a really nifty and unknown little work: the Flute Concert in D major, Op. 283, of Carl Reinecke, composed in 1908. Its three movements reduce Wagnerian language to a compact concerto in all kinds of ingenious ways. Sample the first movement, where the flute provides a charming pastoral element against a varying backdrop. The other works are each characteristic of their composer, even including the very early Largo and Allegro for flute and strings of Tchaikovsky.