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Hyperion Records

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The Alyscamps, Arles (1888) by Paul Gaugin (1848-1903)
Musée d'Orsay, Paris / Lauros / Giraudon / Bridgeman Art Library, London
Track(s) taken from CDA67690
Recording details: February 2008
Brangwyn Hall, Guildhall, Swansea, Wales
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: February 2009
Total duration: 7 minutes 10 seconds

'D'Indy handles his outsize forces with conspicuous skill (there's some terrific horn writing throughout), and the work's A flat major apotheosis is haunting indeed. Both the Op 19 Lied and Choral varié prove very fetching discoveries, especially when Lawrence Power plays with the selfless dedication, sense of poetry and lustrous tone that made his world premiere recording of York Bowen's viola concerto so special … a toothsome and notably enterprising collection, this, with splendidly ample and atmospheric sound to match. A confident recommendation seems in order' (Gramophone)

'Full of vitality and warmth, with bright brass and energetic strings in upfront perspective against a resonant acoustic … Lawrence Power as viola soloist … responds generously to the passages of hushed intenstity in the Choral varié' (BBC Music Magazine)

'These works make a good introduction to D'Indy's post-Wagnerian art … Choral varié and Lied are concertante works in which, respectively, the saxophone and cello solos are replaced by viola, played by Lawrence Power with his customary seductiveness' (The Sunday Times)

'Scintillance and flair … enthusiastically recommended' (Fanfare, USA)

Lied, Op 19
composer
1884; for solo viola (or cello) and small orchesta; dedicated to the cellist Adolphe Fischer

Lied Op 19  [7'10]

Introduction  EnglishFrançaisDeutsch
Dedicated to the cellist Adolphe Fischer, the early Lied for solo cello and small orchestra, like the Choral varié, exists in an alternative version for solo viola. There are two main themes, the first in B flat major, marked Andantino non troppo, lyrically expansive and characterized by a tritone interval; the second in G minor, plus animé, is, by contrast, simple and folk-like. In the course of their subsequent developments, the first theme emerges very gently on the viola to a background of rustling strings, reminiscent of Siegfried’s ‘forest murmurs’. But it is the rustic second theme that receives the most imaginative treatment—played on high strings in double octaves with woodwind chirrupings in an astonishing texture which anticipates Ravel, and later, in viola harmonics accompanied by two flutes in the remote key of E minor. In the final B flat major coda, a brief series of solo harmonics rises towards the ether.

from notes by Andrew Thomson © 2009

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