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Hyperion Records

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Track(s) taken from CDH55085
Recording details: September 1993
St Peter's Church, Petersham, United Kingdom
Produced by Paul Spicer
Engineered by Tryggvi Tryggvason
Release date: April 1994
Total duration: 3 minutes 49 seconds

'Paul Coletti proves an eloquent advocate for music which is little known but offers rewards in abundance … a most stimulating programme which is performed with distinction by both artists' (BBC Music Magazine Top 1000 CDs Guide)

'Exemplary performances one and all: a most distinguished recorded debut' (Gramophone)

'this anthology of 20th-century music for viola and piano was a deserved inclusion in the BBC Music Magazine's 'Top 1000' CD guide. The Scottish-born Paul Coletti is a master of his instrument, and deploys an impressive range of colours. Well partnered by the versatile Leslie Howard, he gives full Romantic expression to Rebecca Clarke's fine 1919 Sonata and Bax's dramtic Legend. And he is a convincing advocate for posthumously published rarities by Britten and Vaughan Williams, Frank Bridge's beautifully written diptych, two delightful Grainger miniatures, and two beautiful lullabies by Clarke which alone are worth Helios's modest price' (BBC Music Magazine)

‘Coletti’s cello-like tone and Leslie Howard’s sensitive accompaniment highlight the big romantic gestures of the Clarke sonata and also project the fervent nature of works such as Bax’s Legend and Frank Bridge’s irresistible Allegro appassionato’ (Classic FM Magazine)

'A voyage of discovery for both the auditors and the players… a worthy and repertoire-expanding release on all counts' (Fanfare, USA)

'Superb advocacy for some scandalously neglected music… this disc deserves to win both musicians and composers many new friends' (CDReview)

Lullaby No 1
composer

Lullaby No 1  [3'49]

Introduction
Clarke wrote a whole series of Lullabies between 1909 and 1918, and the subject-matter of Morpheus therefore puts it into the same catagory. This Lullaby is the first, dated 1909, and is amongst the earliest of her instrumental works. The gentle, abstract idea of the rocking or singing of a child to sleep obviously appealed strongly to her romantic nature and her particular mode of expression in music.

from notes by Paul Spicer 1994

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