Colin Lawson - 100 Years of the Simple Syst - COMPACT DISCS [CD]

Album Tracks 1. Clarinet Sonata No. 2 in G minor 2. Clarinet Sonata No. 4 in E Flat Major 3. Clarinet Sonata No. 6 4. Clarinet Sonata No. 8 5. Clarinet Sonata No. 10 6. Clarinet Sonata No. 12

Album Tracks 1. Sonata for Clarinet & Continuo No. 1 Allegro Moderato 2. Sonata for Clarinet & Continuo No. 1 Adagio 3. Sonata for Clarinet & Continuo No. 1 Rondo 4. Clarinet Sonata No. 3 in G Major Allegro Moderato 5. Clarinet Sonata No. 3 in G Major Adagio 6. Clarinet Sonata No. 3 in G Major Allegro 7. Clarinet Sonata No. 5 in D minor Allegro Ma Non Troppo 8. Clarinet Sonata No. 5 in D minor Adagio 9. Clarinet Sonata No. 5 in D minor Rondeau Pastorale 10. Clarinet Sonata No. 7 in a Minor Allegro Ma Non Troppo 11. Clarinet Sonata No. 7 in A minor Adagio 12. Clarinet Sonata No. 7 in A minor Allegretto 13. Clarinet Sonata No. 9 in G Major Allegro Moderato 14. Clarinet Sonata No. 9 in G Major Adagio 15. Clarinet Sonata No. 9 in G Major Allegretto Rondeau 16. Clarinet Sonata No. 11 in E minor Allegro Con Espressione 17. Clarinet Sonata No. 11 in E minor Adagio 18. Clarinet Sonata No. 11 in E minor Allegro Poco Vivace

These are the first-ever recordings of music composed by José (Pepito) Arriola, whose works are virtually unknown. Born in Betanzos in the northern Spanish region of Galicia in 1895, Arriola was a celebrated child prodigy known at the time as a 'Galician Mozart', who dazzled audiences across Europe and American with his piano-playing. Most of Arriola's work was lost when his home in Berlin was destroyed during the Second World War. The manuscripts for the three concertos and two song-cycles presented here were discovered just a few years ago, and mysteriously vanished almost as soon as they had been photocopied for dissemination. They were composed in the final decade of Arriola's life in 1946 he settled in Barcelona, where he lived quietly until his death in 1954. Arriola's music belongs to the second golden age of Spanish music, that of Albéniz, Granados, Turina and Falla (and, a little later, Joaquín Rodrigo), flavoured by nationalism and the rich Spanish folk tradition, along with a verismo that concerned itself with the ordinary people of Spain and their suffering (as mirrored in Carmen, or Candela in El amor brujo). Yet in common with other post-Romantic composers, Arriola sought out a world of vanished beauty, experimenting with color, texture, unusual tonal combinations and harmony full of color, sensuality and emotion. As a student in Leipzig, Arriola had been taught by Richard Strauss, and his teacher's influence may be heard to positive effect in both the soaring vocal lines of the Tres textos cervantinos and the transplanted Classical idiom of the Horn Concerto. The piano-writing in the Concertino and Divertimento concertante is more compact and Stravinskian, while two songs from the cycle of Seis poesías de Antonio Machado disclose yet another, more impassioned facet of Arriola's style. Album Tracks 1. Concertino for Piano and Orchestra 2. Divert