Sheet Music – £ – Boosey edition number: HPS In later life, however, the only piece that exists for solo viola is the beautiful Lachrymae where it is accompanied by piano. It was composed for the Scottish violist. Benjamin Britten concentrated mostly on composing works of operatic or symphonic proportion after the initial success of Peter Grimes in
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Lachrymae, reflections on a song… | Details | AllMusic
Also written in Such haste is scarcely evident in this haunting and cleverly worked-out piece. Britten also refers to a second Dowland song, Flow my tearsin the course of the piece. If I were to admit to one small misgiving it would be that the Epilogue, delivered by Watkins from the gallery at the back of the Hall, seemed to have too much presence, too much solidity.
AKA ‘The Hipsters’, and it may seem brittrn first blush that nothing succeeds like success. Today, Christ is born! Jazz Latin New Age. This time he had not himself but the Scottish viola player William Primrose in mind, and Lachrymae was performed by Primrose and Britten at the Aldeburgh Festival in During the past four years, there have been many musical and artistic centenary commemorations of the terrible human tragedies, inhumanities and utter madness of the First World War, but there can have been few that have evoked the turbulence and trauma of war – both past and present, in the abstract and in the particular – with such terrifying emotional intensity as this recital by Ian Bostridge and Antonio Pappano at the Barbican Hall.
Stanford’s The Travelling Companion: It is this aspect of the work with which Britten primarily concerns himself in constructing this set of lachryma variations.
As such, the variations hint at the main themes — an air by John Dowland — before it emerges in full. By continuing to use this website, you agree to their use. The Nash Ensemble strings were superb throughout, and Brabbins tempi were unfailingly well-judged. Drinking Hanging Out In Love. However the one readily available version, part of a disc from Krzysztof Chorzelski and Katya Apekisheva that includes works for viola and piano by Schumann and Shostakovich, is a passionate performance.
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With thanks to Hyperion: Sorry, your blog cannot share posts by email. The string lines and voice are very much of equal import, the latter often melodically subordinate to the on-going instrumental discourse; Brabbins and the players of the Nash Ensemble were firmly focused, alert to the instrumental arguments and colourings which embrace the voice.
Home Welcome to team BB! From the shadowy opening of the Lento, with its muffled tremolos and muted una corda playing, the piece built in intensity. Introspection Late Night Partying. Hen harrier c Graham Catley, whose rather wonderful blog Pewit can be found here.
Martin Brabbins deftly shaped birtten unfolding exchanges between soloist and players, and within the ensemble, crafting interchanges suggestive of conversation and quotation. Reflections on a song of John Dowland op. Classical Collection Master Series, Vol.
Lachrymae, op. 48a – study score
Rainy Day Relaxation Road Trip. The Tallis Scholars Hodie Christus natus est.
The songs of Tchaikovsky and Lachrtmae lie at the heart of the Romantic Russian art song repertoire, but in this duo recital at Wigmore Hall it was the songs of Nikolay Medtner – three of which were framed by sequences by the great Russian masters – which proved most compelling and intriguing.
Russian romances at Wigmore Brtiten The songs of Tchaikovsky and Rachmaninov lie at the heart of the Romantic Russian art song repertoire, but in this duo recital at Wigmore Hall it was the songs of Nikolay Medtner – three of which were framed by sequences by the great Russian masters – which proved most compelling and intriguing.
The story goes that Britten promised Primrose a new piece, partly to persuade the player to perform at the Aldeburgh Festival, forgot all about it then composed it overnight following a telephone reminder from Primrose. While working on Billy BuddBritten returned to his first instrument. Variations on a Theme of Frank Bridge. Other recordings available for download. Claire Seymour Sandrine Piau: A more diffuse, ethereal quality — one that might have been achieved if Watkins had played off-stage, perhaps with door ajar, behind the platform — would have sustained the enduring ghostliness that lingered in so many of the movements.