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Find essays and research papers on Transgender at StudyMode.com. We've helped millions of students since 1999. Join the world's largest study community. The Grainger Edition . We know a composer from one or at best a handful of works. After all the range and depth of available music has for the last decade or so been gratifyingly bewildering. And life is too short to pursue the next work after that even if we had access to it; best move on to the next composer new to us and sample and reach fresh judgements again. Perhaps more often we have heard one work or performance and that is the trigger to pursue every work by that composer, so impressed were we by that first work. If our impression is adverse we are just as likely to pass by on the other side and find someone else’s music to explore. At one time the hum- drum myopia of the record industry conspired in this. We decide if we like composers by impressions formed from one or two oft- broadcast or rarely recorded works. Generalist music- lovers whose prime focus rests with the . In much the same way people know Grainger from Country Gardens or perhaps Mock Morris. With other composers such as Sibelius and Delius there is less of an excuse. While Sibelius has his Finlandia and Valse Triste and Delius his First Cuckoo and Walk to the Paradise Garden each has had, since the days of the 7. This box is both antidote and challenge. Antidote in that there is approaching a full 2. Challenge in that there is so much. That we have both in this box is cause for celebration in the half centenary of Grainger’s death. This Grainger Edition box is a revelation though there are no new recordings here. All nineteen discs have been issued at full price as single discs between 1. The enthusiastic, the obsessed and the deep- pocketed will already have them or some of them though those CDs will take up far more space than this box. Some will also have Chandos’s Grainger wind- band transcriptions disc but it’s not part of the Edition. The Edition is produced to the usual enviable Chandos standard in performance, choice of repertoire and documentation. I am sure this cannot be everything Grainger wrote but it does cut a hugely impressive six- lane motorway through his creative legacy and presents it to appreciative listeners at an unbeatable price. On that subject the price is set at 1. CDs for the price of four which sounds like a yet more generous variant of Bis’s box pricing policy. It should sell like hot pancakes and it deserves to. It has no competition; nothing approaching it. Allowance must be made in the interests of economy for a wallet- style box that is serviceable but constructed simply of light card – a first for Chandos. The 1. 9 card pockets are nicely done with a different photo of Grainger and a different colour shading for each genre – so the three orchestral works CDs sport a light slate tinge. The sleeves are very simple and the contents of the discs are not listed on the back. Instead the number of the disc is given and you then go to the 1. English- only booklet which has full contents, all the sung words and commentary on each work in alphabetical sequence by work title - not grouped by disc content. You should note that the numbering of the volumes has been rationalised from that adopted when first issued. So when the three orchestral music volumes came out in 1. CDs. Now those orchestral discs are logically grouped as volumes 1, 2 and 3. Nothing here sounds tired, routine or gap- filling dull. And certainly Grainger emerges as far more than pretty, cosy or genteel; more a case of romantic, folksy, dangerous, exultant, tumultuous and, yes, sentimental. Good to see Penelope Thwaites at the heart of things. With John Lavender who also appears here (discs 1. Grainger two piano music across three Pearl CDs (SHE- CD 9. She can be heard in this set including on three discs of the music for piano solo on Chandos CHAN 9. CD 1: Orchestral Works I . Colonial Song’s sentimental and sighs and surges with the wheeze of the harmonium in amongst the rich orchestration. English Dance skips along with organ brightening rather like the Merry Eye of Herbert Howells. We were dreamers is an extrapolation of the cheery irrepressibility of Butterworth’s English idylls. Blithe Bells is in fact an oh- so- delicate . Then comes a smooth interloper in the shape of a symphonic wind band version of Walking Tune. The In a Nutshell suite comprises a gamelan- accented Arrival platform Humlet with glances towards the raw exuberance of The Warriors, a steady- thoughtful Gay But Wistful, the extended Pastoral with its green Englishry and then the precious complexity and the grandly slack- jawed yokel cheer of The Gum. Suckers’ March with plenty of bell decoration. Green Bushes is a passacaglia – seemingly the first – on a sprightly folktune. It is subjected to tickling and caressing interactions with countermelodies. A brisk piece not written for dreamers but for tirelessly hasty country- walker, it is sappily driven and performed. Its innovative approach is said by Grainger to have led the way for Delius’s Brigg Fair Rhapsody and the two Dance Rhapsodies. CD 2: Orchestral Works II . Many of these pieces are in versions prepared for performance by Leopold Stokowski. All the great hits are there in balmy arrangements, recordings and performances. Somewhat breaking the mould is the Delian warm bath that is Dreamery. Alongside this element we get the phantasmagoric The Warriors – his largest and most exuberantly kaleidoscopic work written between 1. Beecham for the Ballets Russes. It was never performed by them. If you know Chisholm’s splendid First Piano Concerto you will know what to expect. This feral celebration of warriors from every country and age explodes in showers of aural shrapnel with at least a strand or two owed to Stravinsky’s Rite, Van Dieren’s Chinese Symphony, Delius’s Cuckoo and Bax’s Summer Music. Hickox’s is a good account, supremely well recorded but has not displaced a volcanic July 1. I once heard by Gerard Schwarz and the Waterloo Festival Orchestra. It’s the difference between Eduardo Mata’s Dorian CD of Revueltas’s Sensemaya and Stokowski’s blast furnace original or between Rozhdestvensky’s first LP recording of George Enescu’s First Symphony with the Moscow Radio Symphony Orchestra and Mihai Brediceanu’s version with the Enescu State Philharmonic Orchestra on Marco Polo. On the other hand Hickox well and truly hammers home the gold and splendour of the work’s dazzling epilogue. John Eliot Gardiner’s version with the Philharmonia – originally on DG with The Planets – has more zest and crisp definition. The latter can now be heard with some classic Maltings era Grainger on a Decca Eloquence double (4. CD 3: Orchestral Works III . Hill Song II was written for his friend Balfour Gardiner. It presents - in one continuous flux - the wilder and faster aspects of Hill Song I without the interpolation of pauses for Delian dreaming. In fact the final section is restful and things do not end in the huge spasm that concludes The Warriors. Hill Song II was famously and ruggedly recorded by Frederick Fennell and the Eastman Wind Ensemble. The tickling and tinkling Eastern Intermezzo which also features in A Youthful Suite can be heard in a version for percussion ensemble complete with piano and harmonium. Colonial Song - for full orchestra - is a love hymn to Australia: an arch of sweetly stretching sentimentality in a style that bridges Stephen Foster and Brahms. The Power of Rome and the Christian Heart is a slow tempo reflection on the philosophical tensions between the individual and the powers that be . Elgarian resonances but otherwise recalls the more lively sections of Delius’s Over the Hills and Far Away. CD 4: Works for Chorus and Orchestra I . Varcoe is more tremulous than I would prefer but he is atmospheric and concentrated and is so much better in Shenandoah. Marching Tune recalls the unison songs of Sibelius. I’m Seventeen Come Sunday, There was a Pig, Thou Gracious Power and Ye Banks and Braes are nonpareil in the hands of The Joyful Company. Mark Padmore excels in Brigg Fair in a version for tenor solo and choir. I was delighted to get to know the subtle and enigmatic Early One Morning for orchestra, violin and trumpet. Handel in the Strand struts and carols its stuff most life- enchantingly in the hands of Penelope Thwaites and the CLS. CD 5: Works for Chorus and Orchestra II . They’re not all vocal either. Try the soulful The Running of Shindand and Tiger- Tiger each for five cellos. The sequence concludes with the caramel orient sunset of The Love Song of Har Dyal. Country Gardens plays touchball with Schoenberg in the delightfully grating and ringing Barry Peter Ould- realised version. Scotch Strathspey and Reel is one of Grainger’s most treasurable pieces – about as far away as one could get from the fatuities of tartan culture and pretty sea- shanties. It makes connections far more often with the idiom of The Warriors and of whirlingly possessed dances from the Caledonian highlands. The orchestra is rich with the power of gurgling woodwind and the brusquely precise pizzicato of guitars and mandolins. The last track again has the glorious Joyful Company this time in the hammered and excitable definition of The Lost Lady Found. CD 6: Works for Chorus and Orchestra III . When Grainger is in this vein he looks in the direction of Frank Bridge’s Sir Roger de Coverley – a Britten favourite - and in this case there is a hint of Capriol too. Died for Love is out of the same green meadow as Moeran’s two pieces for small orchestra. The Love Verses and the slightly chilly Early One Morning bring home parallels with Balfour Gardiner’s April and Philomela (long overdue for revival). Youthful Rapture (Tim Hugh, cello) has also been recorded by Julian Lloyd Webber who takes more time than Hugh and this piece can bear the slower tempo. Random Round is for the succulent Susan Gritton and Mark Tucker and chamber ensemble in which much play is made by the guitar and flute. It’s another delightful discovery for me – another among many. Towards the end as it gathers complexity it begins to sound like Bliss’s Rhapsody. |
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