Danish National Opera Choir, Aalborg Symphony Orchestra, Owain Arwel Hughes - Vagn Holmboe: Piano Concerto No. 1, Op. 17 / Clarinet Concerto No. 3, Op. 21 / Beatus Parvo (2004) [Hi-Res]
![Danish National Opera Choir, Aalborg Symphony Orchestra, Owain Arwel Hughes - Vagn Holmboe: Piano Concerto No. 1, Op. 17 / Clarinet Concerto No. 3, Op. 21 / Beatus Parvo (2004) [Hi-Res]](https://www.dibpic.com/uploads/posts/2021-04/1619354403_danish-national-opera-choir-vagn-holmboe-piano-concerto-no_-1-op_-17-2004.jpg)
- Title: Vagn Holmboe: Piano Concerto No. 1, Op. 17 / Clarinet Concerto No. 3, Op. 21 / Beatus Parvo
- Year Of Release: 2004
- Label: BIS
- Genre: Classical
- Quality: flac 24bits - 44.1kHz +Booklet
- Total Time: 01:18:08
- Total Size: 690 mb
- WebSite: Album Preview
Tracklist
01. Piano Concerto No. 1, Op. 17: I. Molto Moderato
02. Piano Concerto No. 1, Op. 17: II. Molto Allegro
03. Clarinet Concerto No. 3, Op. 21: I. Allegro Non Troppo
04. Clarinet Concerto No. 3, Op. 21: II. Allegro Giocoso
05. Oboe Concerto No. 7, Op. 37: I. Molto Moderato - Allegro Non Troppo
06. Oboe Concerto No. 7, Op. 37: II. Allegretto Con Moto
07. Beatus Parvo, Op. 117: I. Beati Quorum (Tranquillo)
08. Beatus Parvo, Op. 117: II. Quoniam Tacue (Espansivo)
09. Beatus Parvo, Op. 117: III. Delictum Meum (Moderato)
10. Beatus Parvo, Op. 117: IV. Multa Flagella (Allegro)
Something of Vagn Holmboe's approach to writing concertos may be discerned in his numeration: they are not grouped according to the solo instrument (e.g., Piano Concerto No. 1), but counted merely as Concertos in the sequence of their composition, regardless of the featured instruments. This suggests that the soloist's role is somewhat altered: still central as a leading part, but frequently incorporated into the orchestral mass as a coloristic instrument among many others. The Concerto No. 1 for piano and orchestra, Op. 17 (1939), clearly demonstrates Holmboe's procedure, for the piano switches back and forth between lyrical solos and more emphatically rhythmic passages as a percussion instrument. Holmboe's Concerto No. 3 for clarinet and orchestra, Op. 21 (1940-1942), also presents interesting mixtures of the instrument's distinctive tone with other timbres, most strikingly with the brass section. The Concerto No. 7 for oboe and orchestra, Op. 37 (1944-1945), is most beguiling in the many chamber-like, concertino combinations of the oboe with other woodwinds. Pianist Noriko Ogawa, clarinetist Martin Frost, and oboist Gordon Hunt strike the right balance with conductor Owain Arwel Hughes and the Ålborg Symphony Orchestra, since all give prominence to the leading part where Holmboe indicates, but equal attention to the ever-shifting background textures.
01. Piano Concerto No. 1, Op. 17: I. Molto Moderato
02. Piano Concerto No. 1, Op. 17: II. Molto Allegro
03. Clarinet Concerto No. 3, Op. 21: I. Allegro Non Troppo
04. Clarinet Concerto No. 3, Op. 21: II. Allegro Giocoso
05. Oboe Concerto No. 7, Op. 37: I. Molto Moderato - Allegro Non Troppo
06. Oboe Concerto No. 7, Op. 37: II. Allegretto Con Moto
07. Beatus Parvo, Op. 117: I. Beati Quorum (Tranquillo)
08. Beatus Parvo, Op. 117: II. Quoniam Tacue (Espansivo)
09. Beatus Parvo, Op. 117: III. Delictum Meum (Moderato)
10. Beatus Parvo, Op. 117: IV. Multa Flagella (Allegro)
Something of Vagn Holmboe's approach to writing concertos may be discerned in his numeration: they are not grouped according to the solo instrument (e.g., Piano Concerto No. 1), but counted merely as Concertos in the sequence of their composition, regardless of the featured instruments. This suggests that the soloist's role is somewhat altered: still central as a leading part, but frequently incorporated into the orchestral mass as a coloristic instrument among many others. The Concerto No. 1 for piano and orchestra, Op. 17 (1939), clearly demonstrates Holmboe's procedure, for the piano switches back and forth between lyrical solos and more emphatically rhythmic passages as a percussion instrument. Holmboe's Concerto No. 3 for clarinet and orchestra, Op. 21 (1940-1942), also presents interesting mixtures of the instrument's distinctive tone with other timbres, most strikingly with the brass section. The Concerto No. 7 for oboe and orchestra, Op. 37 (1944-1945), is most beguiling in the many chamber-like, concertino combinations of the oboe with other woodwinds. Pianist Noriko Ogawa, clarinetist Martin Frost, and oboist Gordon Hunt strike the right balance with conductor Owain Arwel Hughes and the Ålborg Symphony Orchestra, since all give prominence to the leading part where Holmboe indicates, but equal attention to the ever-shifting background textures.
Classical | FLAC / APE | HD & Vinyl
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