![]() Musgrave had previously set a poem by the Austrian Poet, Georg Trakl, in "Wild Winter" and was inspired to write this piece by other of his writings. The Autumn Sonata is a dark, brooding, atmospheric concerto in six parts (21:38) and was commissioned by the present soloist, Victoria Soames, who gave the first performance at the Cheltenham Festival in 1994. Again the sound has been beautifully caught by the engineer (Graeme Taylor) and I have been fascinated by the range of the instrument. I have always loved the sound of the bass clarinet, particularly when used by Shostakovich, but I have never previously heard it used as a solo instument in a concerto. In one unusual alliance the soloist pairs up with an accordian which is particularly well caught in this recording. This same idea is also taken up in other works of hers such as the Night Music for chamber orchestra which has two horn players doing the same (ARGO 702 nla). The soloist begs support from sections of the orchestra and does this by the peripatetically moving to different sections of the orchestra and persuading them to play as separate units independently of the conductor. Thea writes that the concerto depicts a struggle between unequal forces - the individual versus the crowd. The Clarinet Concerto (26:20)(Royal Philharmonic Society Commission, 1968) was written for Gervase de Peyer who made the first recording, which is rather academic as it is not available and it is unlikely Polygram will get round to re-issuing it. Her compositions would certainly leave the old ladies unruffled on the front row! She does not write big tunes for her soloists in the way Alwyn or Walton have - her soloist parts tend to be rather spiky but cushioned by a lyrical underpinning in the orchestra. I find her music modern but approachable, sensitive and responsive without any sudden unecessary dramatic outbursts that leave you wondering what on earth hit you. ![]() Thea may have started out being influenced by Schoenberg, Webern and her teacher William Glock but that is not how I hear her music at all (I have not heard any of her Operas). ![]() each of which, it transpires, has individually been hinted at throughout the concerto." The notes are written by Thea Musgrave in a dispassionate third-person style e.g "We hear three musical elements. ![]() With Victoria Soames soloist on clarinet and bass clarinet.īBC Scottish Symphony Orchestra conducted by Thea Musgrave It is a CALA release and I must have got hold of a review copy being sold on as it is a new recording which I do not believe has even been advertised or reviewed yet. The CD arrive this morning and it is so captivating that I have given up a morning's work to hear it and to post this. I had even tried unsuccessfuly to interest Brian Couzens of CHANDOS in recording this composer. All have long disappeared and I was surprised by the existence of the present CD because I had been awaiting a new recording. I have known this work since it was first issued on LP by Argo (ZRG726 8/75) following a Decca Headline release of the Concerto for Orchestra and the Horn Concerto (HEAD 8 6/75). Reproduced with permission from Cala RecordsĪutumn Sonata (Concerto for Bass clarinet and Orchestra)Ĭala records have recently released a CD containing Thea Musgrave's ClarinetĜoncerto. Thea Musgrave - clarinet concerto - new recording Thea Musgrave - New recording
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