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Hyperion Records

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A Winter Landscape by Christopher Richard Wayne Nevinson (1889-1946)
Track(s) taken from CDH55218
Recording details: December 1993
St Silas the Martyr, Kentish Town, London, United Kingdom
Produced by Gary Cole
Engineered by Gary Cole
Release date: July 1994
Total duration: 14 minutes 56 seconds

'Eloquent and sensitive performances of some of the finest British chamber works of our century' (BBC Music Magazine)

'Outstandingly beautiful playing … of beguiling sensitivity and exhilaration' (CDReview)

'This was always a fine recording, and to have it in such great sonic shape again for a reasonable outlay is a double blessing indeed. This is music of rich evocation, provocatively played here … we are lucky to have this superb reading by the Coull, who have this music in their blood … the sound is top grade Hyperion, and the program fills a huge gap in the discography' (Audiophile Audition, USA)

Three Idylls, H67
1906; dedicated to EES (Ethel Elmore Sinclair, the future Mrs Bridge)

Allegro con moto  [3'50]

Other recordings available for download
Goldner String Quartet
Introduction  EnglishFrançaisDeutsch
Bridge dedicated the Three Idylls (H67) to E.E.S.—Ethel Elmore Sinclair was an Australian who sat with Bridge on the first desk of the second violins in the Royal College of Music Symphony Orchestra at the turn of the twentieth century. She returned from Australia in October 1907, six months after Bridge, playing second violin, had given the premiere of the suite with the Grimson Quartet. Frank and Ethel were married on 2 September 1908.

Bridge’s mastery of the string medium is evident right from the outset. The first movement opens in subdued, almost melancholy vein, with the main theme on Bridge’s favourite instrument, the viola. The Adagio molto espressivo in C sharp minor blossoms into a serene and lyrical E major, one of Bridge’s characteristic ‘stringy’ keys. After a stirring climax, the music subsides once more into a more melancholic mood. The second Idyll has become Frank Bridge’s most often played composition. In 1936 Benjamin Britten used it as the theme for his Variations on a theme of Frank Bridge for string orchestra, Op 10, which is in fact Britten’s affectionate character study of his teacher. Britten was attracted to this music because of its subtle harmonic ambiguities. The central section is more animated and direct in harmony. The finale, with its bustling energy and vitality reveals the influence of Debussy’s String Quartet—a work which Bridge’s had admired since his student days.

from notes by Paul Hindmarsh İ 2009

Other albums featuring this work
'Bridge: Piano Quintet, String Quartet & Idylls' (CDA67726)
Bridge: Piano Quintet, String Quartet & Idylls
'Hyperion monthly sampler – August 2014' (HYP201408)
Hyperion monthly sampler – August 2014
MP3 £0.00FLAC £0.00ALAC £0.00 FREE DOWNLOAD HYP201408  Download-only monthly sampler  

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