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Track(s) taken from LSO5061

Fanfare for a newborn child

composer

London Symphony Orchestra, François-Xavier Roth (conductor)
Studio Master FLAC & ALAC downloads available
CD-Quality:
Studio Master:
CD-Quality:
Studio Master:
Recording details: October 2012
LSO St Luke's, London, United Kingdom
Produced by Jonathan Stokes
Engineered by Neil Hutchinson
Release date: May 2013
Total duration: 3 minutes 41 seconds
 

Reviews

'There are plenty of imaginative sounds in The Panufnik Legacies, a CD from the LSO showcasing works by young composers. In Flēotan, Charlie Piper creates the sense of sounds suspended in the air, while in Christopher Mayo’s Therma, earthy rumblings gradually erupt. A highlight for me, though, was Eloise Nancie Gynn’s Sakura (cherry blossom) in which darker forces emerge and subside against a backdrop of atmospheric shimmers' (BBC Music Magazine)

'There are 11 firecrackers on this disc, written by 10 composers who have been nurtured by the LSO’s Panufnik Young Composers Scheme' (The Daily Telegraph)

'The Panufnik Legacies is an extremely valuable release, demonstrating the London Symphony Orchestra’s commitment to contemporary music, François-Xavier Roth’s dynamic and committed conducting, and that music being written right now is in very good health' (Classical Source)

'This is certainly a disc for those who are musically curious, and maybe the best way in is through Jason Yarde’s coolly inviting Rude Awakening!, which lives up to its name! The LSO plays marvellously for the unstinting François-Xavier Roth. There is much to relish here, the music of now and the future. What’s more, the sound is superb in its clarity and impact, not transferred too loudly (as can be the case these days), allowing the orchestra space and dynamism. All round, very impressive' (Hi-Fi Critic)
Fanfare for a newborn child was written as a christening present for my nephew and godson, Andrew O’Reilly. Instead of brass and drums, massed string harmonics and an irregular woodblock metronome announce the arrival of a new life—the image I had was of imaginary fairy trumpets played in the far distance.

Originally these fanfares were to open the piece, preceded by a short flourish, but this flourish grew and became the bulk of the work. Fragments of melodic lines and fanfares, loops and scales whirl around the orchestra forming a kind of moto perpetuo. The orchestra is used as a continually changing chamber ensemble with the energy level maintained permanently high, but with quiet, sotto voce dynamics for the most part. The only tutti occurs when the various elements are piled on top of each other at the end of the section, which suddenly coalesces into the fanfare proper.

from notes by Martin Suckling © 2013

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