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Hyperion Records

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Track(s) taken from CDA67387
Recording details: September 2003
Usher Hall, Edinburgh, Scotland
Produced by Mark Brown
Engineered by Jonathan Stokes
Release date: March 2004
Total duration: 12 minutes 30 seconds

'A thoroughly likeable issue, well worth exploring' (Gramophone)

'Glasgow gave Europe two of its leading musical talents of the late 19th and early 20th centuries. Thanks to yet another adventurous project from Hyperion, their legacy is guaranteed' (The Scotsman)

'Martyn Brabbins and the BBC Scottish Symphony Orchestra do offer vivid accounts that are inspired, insightful, and invigorating and that succeed in capturing the music's strengths. The brass are potent, the strings sumptuous, the winds rich in tone, and the perspective quite realistic. All are a credit to Hyperion's now-legendary engineering … this is an important release and one that makes opening your wallet worthwhile' (Fanfare, USA)

'The world of classical music should be welcoming to these freshly liberated works long condemned to dusty shelves and unmerited oblivion. Well done to Hyperion and all concerned in the project' (MusicWeb International)

Overture to 'Esther', Op 8
composer

Introduction  EnglishFrançaisDeutsch
D’Albert’s Overture to ‘Esther’, Opus 8 is one of a small group of orchestral works, including a symphony Opus 4 and two piano concertos (Opus 2 and Opus 12). By Lamond’s standards this is a considerable output, but d’Albert composed twenty operas besides (some of which were highly successful), two string quartets, and several piano works, not to mention a number of transcriptions, including a demanding version of the great early Bach organ Prelude and Fugue in D major.

The Overture was intended for Grillparzer’s fragmentary poetic drama of the same name, published in 1861. Esther is one of those books in the Bible in which religion has no place, and honour but a trifling one. It commences with the putting aside of Queen Vashti for disobedience – a course which might well have had appeal to d’Albert – and with the successful petitioning by Esther, the new Queen, for the right of her own Jewish people to avenge a plot against them. The background, then, is of the charm and discretion of Esther in the context of courtly magnificence, intrigue and violence.

The Overture opens with a striking declamatory statement in A major, but is countered by a gentle woodwind passage. On the repeat of this process, a solo horn announces an appealing contrasting subject in C major. The pace quickens to a climax, and a calmer section follows, eventually ushering in a new theme, making its elegant curtseys on the woodwind in the dominant key, in which the oboe also announces a rustic variant of the second subject.

D’Albert, however, is skilful in his use of the shifting perspectives offered by frequent modulation and by a recapitulation which substantially reverses the order of the material; and in the end Esther’s charms yield to (or win, depending upon your perspective) the magnificent condescension of her husband King Ahasuerus.

from notes by John Purser © 2004

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