Auric / Bertsch - Cello Sonatina - COMPACT DISCS [CD]

Boselli / Furetta - Cello Style [COMPACT DISCS] date 02/03/2017

SOMM Recordings marks the 150th anniversary of Samuel Coleridge-Taylor (1875 - 1912) with a diverse selection of his orchestral works, reflecting both his Afro-British parentage and a musical milieu that included Holst and Vaughan Williams. Of particular note is that five of the seven works presented here are first recordings. This commemorative features the Ulster Orchestra conducted by Charles Peebles, whose first recordings of Piano Concertos by Dora Bright and Ruth Gipps for SOMM were widely praised. It was quickly apparent that Coleridge-Taylor possessed an unusual talent, and he produced a remarkable body of work before his untimely death at 37 though much of his music has been hidden from public view by the absence of surviving performance material. He composed his first work for voice and orchestra, Zara's Earrings, when he was just 19. Rebecca Murphy, hailed by Opera Journal for her Inchstunning delivery,Inch is the featured soprano. The Ballade, also written when Coleridge-Taylor was 19, was premiered by Isabella Donkersley, the future wife of Augustus Jaeger (soon to be immortalised by Elgar as 'Nimrod' in his Enigma Variations). The Ballade's great drama and charismatic melodic material play to the strengths of Coleridge-Taylor having been a violinist.  Ioana Petcu-Colan, heard here, is leader of the Ulster Orchestra and a soloist of considerable reputation. When Coleridge-Taylor heard Brahms's Clarinet Quintet while a student at the Royal College of Music, he was encouraged to write his own. The Romance for string orchestra is an arrangement of the quintet's introspective Larghetto affettuoso movement. Solemn Prelude, written for the Worcester Three Choirs Festival of 1899, is a work of elegiac pathos exuding the confidence of a young composer reaching the height of his powers. Since it's modern revival in 2021, it's been performed by some of the world'

This features the first complete recording ever of the cello sonatas of the Worms late romanticist Friedrich Gernsheim, with encores in the form of his only two cello pieces with piano. For the virtuoso parts in his three cello sonatas, Gernsheim could draw on his own brilliant piano technique, which he had demonstrated already in 1850 as an eleven-year-old child prodigy. The five works span five decades. The Sonata in D minor op. 12 from 1868 continues to follow the paths of Mendelssohn's two sonatas, while the Sonata in E minor op. 79 of 1906 is a dramatically charged work in the style of the turn of the century. The cello composition Elohenu of 1881 and the Andante op. 64bis from 1898 are situated between them chronologically. Two years prior to his death Gernsheim reworked the last movement of his Sonata in E minor and wrote two completely new movements for the first and second positions. The result was the Sonata in E minor op. 87 of 1914, the seventy-five-year-old composer's farewell to his epoch on the eve of World War I. Alexander Hulshoff and Oliver Triendl perform these works with aplomb.