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Bainton - Boughton Import


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Détails sur le produit

  • Interprète: Roederick Williams
  • Compositeur: Edgar Bainton & Rutland Boughton, Roederick Williams
  • CD (27 mai 2007)
  • Nombre de disques: 1
  • Format : Import
  • Label: Dutton
  • ASIN : B000NA2PK0
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  • Classement des meilleures ventes d'Amazon: 256.584 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. I. Molto Adagio/Allegro Con Brio
  2. II. Allegretto Grazioso
  3. III. Adagio
  4. IV. Motlo Moderato, Pesante - (Allegro Molto)
  5. I. Quick And Rough/Maestoso
  6. II. Rather Slow
  7. III. Quick With Martial Spirit
  8. IV. Quick/Slow/Quick

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Amazon.com: HASH(0x9aedad50) étoiles sur 5 2 commentaires
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HASH(0x9a3d6c30) étoiles sur 5 Symphonies by Bainton & Boughton 22 février 2013
Par Dr. H. A. Jones - Publié sur Amazon.com
This is the first of two CDs released (2007) in recent years by the Dutton Laboratories on the Epoch label of music by Bainton and Boughton. Edgar Bainton (1880-1956) and Rutland Boughton (1878-1960) were two contemporary English composers who, although composing during the 20th century, wrote music that is immediately accessible, enjoyable and uplifting to the spirit: many 20th century compositions are quite challenging for the listener. Their compositions are thoroughly workmanlike rather than startlingly original and provide most satisfying listening. Both works are in four movements. The Boughton first symphony (of three) is subtitled ‘Oliver Cromwell’ and, to me, captures something of the character of the man as I have read about it. The direct source of inspiration for the work were the ‘Letters and Speeches of Oliver Cromwell’ compiled by the Scottish philosopher-historian, Thomas Carlyle.

One feature I was not prepared for on a first listening to the Boughton was the baritone solo rendition of Cromwell’s last prayer in the final movement. It reminded me of my first hearing of Mahler’s 4th Symphony with the soprano soloist in the final movement. The soloist here is Roderick Williams and the orchestra in both works is the BBC Concert Orchestra conducted by Vernon Handley. The Bainton work is his third and final symphony in c minor. Anyone who enjoys the music of the early 20th century English composers Hubert Parry and Charles Villiers Stanford will find much to admire here in the symphonies by these too little heard composers. To my mind, they certainly bear favourable comparison with the earlier masters.
HASH(0x9a3dfc6c) étoiles sur 5 Very fine music in magnificent performances 19 février 2016
Par G.D. - Publié sur Amazon.com
Achat vérifié
I suppose Edgar Bainton and Rutland Boughton would usually be considered “also-rans” among British composers of their generation. Certainly neither is in any way as personal or original as Holst or even Bax, but their music is nonetheless simply too good to be just forgotten. Bainton (1880-1956) was a pupil of Stanford and his music is written in a staunchly late-romantic idiom that owes much to his teacher (and to Brahms). If that sounds a bit anachronistic for a work written in 1952, like his third symphony, that might be right, but though it is essentially conservative it is not really a derivative work: Bainton has his own palette of colors and harmonies – nothing groundbreaking but never anonymous either. It is also skillfully constructed with a keen sense of symphonic development – the strangely structured first movement (really two related movements melded together) perhaps apart; the final two movements in particular are magnificent. Overall I found it more impressive than the composer’s second symphony, recorded by Chandos some years ago.

Rutland Boughton (1878-1960) was in his day best known for his operas, of which The Immortal Hour in particular was an astounding success (and the Hyperion recording is something of a must). His particularly British brand of post-Wagnerian, post-Elgarian romanticism – King Arthur, woodland fairytales and Edwardian yearning, doughty nobleness – admittedly risks coming across as a bit quaint today; it’s been a while since an artist could yearn for Lyoness without a sense of detached irony. Boughton was, as far as I know his output, also at his best in those operas, though his first symphony, from 1905, is probably the best non-operatic work of his I’ve heard. A big-boned, Wagnerian drama in five movements inspired by Carlyle’s “Oliver Cromwell’s Letters and Speeches” it is really more of a multi-movement symphonic poem (a little bit like Liszt’s Faust Symphony, perhaps) than a symphony in the ordinary sense. It is also mightily effective, colorful and full of superb ideas, interesting harmonies and brilliance (it’s of course also a clever trick to make the final movement the most memorable one). Some of it might even sound a bit like Korngold- and Rozsa-style film music, but that’s not Boughton’s fault even if you were to deem it a "fault".

Ok, I admit that neither work is a full-fledged masterpiece, but one could almost be fooled: the advocacy both works receive here is the kind of advocacy that tends to be reserved for the big warhorses of the repertoire. The BBC Concert Orchestra is on splendid form; the textures are rich even as the music runs wild with energy and pyrotechnics, and Vernon Handley certainly knows how create dramatic momentum. Roderick Williams is as always the superb baritone soloist in the Boughton, and it is recorded in first-rate sound. So yes, once again Dutton has given us a disc that can be recommended with enthusiasm.
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