Ned Rorem's Double Concerto for violin, cello, and orchestra was commissioned for the two soloists heard on this recording: Jaime Laredo and Sharon Robinson. It is programmatic in nature in that Rorem ascribes titles to each of the movements (e.g., "Looking" and "Conversation at Midnight"). What Rorem does differently, however, is leaves the ...
Is there really another volume in Hyperion's series The Romantic Piano Concerto? Are there really any more unrecorded Romantic piano concertos? Apparently. Here are Xaver Scharwenka's Piano Concerto No. 1 in B flat minor and Anton Rubinstein's Piano Concerto No. 4. But that's not the amazing thing. The amazing thing is that Scharwenka's First and ...
The oboe was Bruno Maderna's favorite instrument and he composed three concertos for it, along with several other works that prominently feature it. This 2006 CD from Col Legno presents all three concertos in vivid performances -- two of them live -- by oboist Fabian Menzel and the Saarbrücken Radio Symphony Orchestra conducted by Michael Stern. ...
An accomplished violinist before becoming a full-time composer, Ellen Taaffe Zwilich is undoubtedly qualified to compose a virtuoso concerto for the instrument, and she may be forgiven for indulging in some phenomenal displays of technique. Yet what sticks in the mind after hearing her Concerto for violin and orchestra (1998) is less of the work's ...
If one wants to hear third-rate Romantic piano concertos, this is the way to hear them: full-bodied, hot-blooded, and totally without inhibitions. That the First Concerto of Xaver Scharwenka and the Fourth Concerto of Anton Rubinstein are third-rate is hard to dispute. Both are well-composed in the height of late nineteenth century Romantic style ...
It is interesting that European orchestras are taking so much interest in recording the music of Charles Ives; historically, it is true that Ives' orchestral music was heard with much more frequency earlier on in Europe than was the case in the United States. This Col Legno disc featuring the Rundfunk-Sinfonieorchester Saarbrücken (that is, the ...
Coupling Arthur Sullivan and Jean Sibelius' scores for Shakespeare's The Tempest was a brilliant decision. How else could one so easily and directly compare the two composers, the one a master of late-Victorian operetta and the other a master of early modernist symphonism? Perhaps unsurprisingly, Sullivan's Suite is Mendelssohnian in its essence ...
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![Rubinstein: Piano Concerto No. 4; Scharwenda: Piano Concerto No. 1 [Hybrid SACD]](http://images.alibris.com/cover/m16408fyay4_t.jpg)
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