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CD and Other Review

Review: Dances to a Black Pipe (clarinet: Martin Frost; ACO/Tognetti)

Anyone who saw Swedish clarinettist Martin Fröst twist, twirl, strut and shimmy his way through his national tour with the ACO last year will know what a physically engaging showman he is. So it’s natural that he would record a dance-themed album during the tour, and no surprise it’s the most eclectic and inspired program the ACO has committed to disc. Hillborg’s Peacock Tales creates a spellbinding atmosphere even without its visual component, Fröst running the expressive and technical gauntlet against an eerie backdrop of clustered strings. Copland’s Clarinet Concerto is equally virtuosic. Both soloist and orchestra (with added piano and harp) are bright and punchy right up to the final clarinet glissando. Fröst is spirited and idiomatic in klezmer tunes scored by his brother Göran and attacked with gusto by the ACO. Göran’s arrangements of Brahms’s Hungarian Dances are well served by the soloist’s lightness of touch and flawless intonation, but it’s the band’s sweeping romanticism that carries these pieces. The most fun on the disc, however, is Högberg’s highly charged Dancing with Silent Purpose with its manic electronic beat. The Expressive Rage movement gives the ACO an opportunity to rock out… Continue reading Get unlimited digital access from…

January 25, 2012
Uncategorised
CD and Other Review

Review: MOZART: Violin Concertos 1, 2 & 4; Rondo K 371, Adagio K 261 (Richard Tognetti/ACO)

The very first Mozart violin concerto I ever heard was the composer’s first, dating from 1773, when Mozart was just 17. The performance was by David Oistrakh, and I found it simply wondrous, especially the Adagio movement, with the violin arching with aching beauty over the orchestra. That was many years ago, when I was a very young teenager. It was the natural springboard to the other four violin concertos, which each mirror Mozart’s increasing maturity. I love that concerto still, and Richard Tognetti and the ACO capture perfectly its youthful brilliance and zest. In fact, all three concertos heard here, plus the Rondo and Adagio, are presented in a way which confirms that our ACO is one of the very finest chamber orchestra ensembles performing anywhere in the world today. Particularly delightful in this recording are Richard Tognetti’s cadenzas, which seem to have grown organically from the source-material. There is… Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

July 12, 2011