English Chamber Orchestra, Imogen Holst - Holst: Orchestral Works (1992)
BAND/ARTIST: English Chamber Orchestra, Imogen Holst
- Title: Holst: Orchestral Works
- Year Of Release: 1992
- Label: Lyrita
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:06:39
- Total Size: 284 mb
- WebSite: Album Preview
Tracklist
01. 2 Songs Without Words, Op. 22: No. 1, Country Song
02. 2 Songs Without Words, Op. 22: No. 2, Marching Song
03. A Fugal Concerto, Op. 40: I. Moderato
04. A Fugal Concerto, Op. 40: II. Adagio
05. A Fugal Concerto, Op. 40: III. Allegro
06. A Fugal Concerto, Op. 40: The Golden Goose, Op. 45 No. 1 (Arr. I. Holst for Orchestra)
07. A Moorside Suite, H. 173: II. Nocturne (Version for Orchestra)
08. Double Concerto for 2 Violins, Op. 49, H. 175: I. Scherzo
09. Double Concerto for 2 Violins, Op. 49, H. 175: II. Lament
10. Double Concerto for 2 Violins, Op. 49, H. 175: III. Variations on a Ground
11. Double Concerto for 2 Violins, Op. 49, H. 175: Lyric Movement, H. 191
12. Brook Green Suite, H. 190: I. Prelude
13. Brook Green Suite, H. 190: II. Air
14. Brook Green Suite, H. 190: III. Dance
15. Brook Green Suite, H. 190: Capriccio (After G. Holst's H. 185)
If you love the music of Gustav Holst, you either already have or you're about to get this disc. Seven of the eight works on the program are prime examples of the composer's post-Planets maturity receiving their world-premiere recordings and they have a tangible sense of excitement. More than that, all the performances here have an overwhelming sense of passionate advocacy because the conductor is Imogen Holst, the composer's daughter. Agile, strong, bright, direct, and immensely appealing, her performances seemed at the time of release to be as convincing as imaginable -- and subsequent recordings, though perhaps better performed, have not improved upon them. Above all, the music is wonderful. Cool, witty, robust, brilliant, and vivacious, Holst's post-Planets music - his Fugal Concerto for flute, oboe & strings, and especially his Lyric Movement - is as fine in its way as the best postwar English music by Vaughan Williams, Walton, or Bax -- and distinctly individualistic, too. Although some might say his lyricism is too austere, his forms too cerebral, and his emotions too etiolated, none would say that Holst doesn't say exactly what he wants to say exactly the way he wants to say it - and none would say that his daughter does not enthusiastically and energetically make the best possible case for his music. Lyrita's stereo sound is deep, detailed, and delightful.
01. 2 Songs Without Words, Op. 22: No. 1, Country Song
02. 2 Songs Without Words, Op. 22: No. 2, Marching Song
03. A Fugal Concerto, Op. 40: I. Moderato
04. A Fugal Concerto, Op. 40: II. Adagio
05. A Fugal Concerto, Op. 40: III. Allegro
06. A Fugal Concerto, Op. 40: The Golden Goose, Op. 45 No. 1 (Arr. I. Holst for Orchestra)
07. A Moorside Suite, H. 173: II. Nocturne (Version for Orchestra)
08. Double Concerto for 2 Violins, Op. 49, H. 175: I. Scherzo
09. Double Concerto for 2 Violins, Op. 49, H. 175: II. Lament
10. Double Concerto for 2 Violins, Op. 49, H. 175: III. Variations on a Ground
11. Double Concerto for 2 Violins, Op. 49, H. 175: Lyric Movement, H. 191
12. Brook Green Suite, H. 190: I. Prelude
13. Brook Green Suite, H. 190: II. Air
14. Brook Green Suite, H. 190: III. Dance
15. Brook Green Suite, H. 190: Capriccio (After G. Holst's H. 185)
If you love the music of Gustav Holst, you either already have or you're about to get this disc. Seven of the eight works on the program are prime examples of the composer's post-Planets maturity receiving their world-premiere recordings and they have a tangible sense of excitement. More than that, all the performances here have an overwhelming sense of passionate advocacy because the conductor is Imogen Holst, the composer's daughter. Agile, strong, bright, direct, and immensely appealing, her performances seemed at the time of release to be as convincing as imaginable -- and subsequent recordings, though perhaps better performed, have not improved upon them. Above all, the music is wonderful. Cool, witty, robust, brilliant, and vivacious, Holst's post-Planets music - his Fugal Concerto for flute, oboe & strings, and especially his Lyric Movement - is as fine in its way as the best postwar English music by Vaughan Williams, Walton, or Bax -- and distinctly individualistic, too. Although some might say his lyricism is too austere, his forms too cerebral, and his emotions too etiolated, none would say that Holst doesn't say exactly what he wants to say exactly the way he wants to say it - and none would say that his daughter does not enthusiastically and energetically make the best possible case for his music. Lyrita's stereo sound is deep, detailed, and delightful.
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