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Hyperion Records

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Track(s) taken from CDA67316
Recording details: July 2001
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: March 2002
Total duration: 4 minutes 41 seconds

'Altogether this is a wholly delectable disc of spirited miniature concertos where the composers are never let down by paucity of invention. Performances are lighthearted and polished, and beautifully recorded. Most rewarding and entertaining' (Gramophone)

'Roscoe and the Guildhall Strings have put together an attractive collection here' (American Record Guide)

'Martin Roscoe's playing is sparklingly sympathetic, as are the accompaniments from the Guildhall Strings. This is music which you are seldom likely to encounter in the concert hall, but is ideally suited to revival on disc' (International Record Review)

'I have to be honest: of all recent CDs from our 'land without music', this has been spinning on my player the most' (The Times)

'Martin Roscoe and the Guildhall Strings approach these light-as-a-feather gems with sincerity and assurance. Their playing is impeccable and agile … those of you who have developed a taste for the ongoing light music series on Hyperion … will find this release a required purchase … this is a truly delightful, genial compilation of attractive and shamefully neglected English early-to-mid-20th-century light music for piano and string orchestra … I enjoyed this album immensely' (Fanfare, USA)

'Bravo to all' (International Piano)

'Martin Roscoe and his colleagues obviously enjoy themselves enormously, and their readings of these attractive works are beautifully recorded … this delightful release is a joy from first to last, and is unreservedly recommended' (MusicWeb International)

'Martin Roscoe … is the sparking soloist in this enchanting disc' (Yorkshire Post)

Festival Scherzo for piano and strings
composer

Introduction
The Festival Scherzo was Dring’s response to the celebrations for the Festival of Britain in 1951. This four-and-a-half minute jeu d’esprit is characterised by the piano’s opening theme which consists of an upward arpeggio followed by a returning downward scale ending on a ‘wrong note’ and driven by a relentless 12/8, and with constant chromatic changes and popular elements such as the Cockney swagger of the second subject, perhaps reflecting similar pieces by Poulenc or Ibert. The opening section – more than half the piece – ends with the piano crunching out dissonant chords in an exuberant mood before the reflective middle section, soon followed by a brief cadenza, marked as such, and the return of the opening theme.

from notes by Lewis Foreman 2002

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