Sinfonietta Riga - Concertinos for Violin Cello Piano & String - COMPACT DISCS [CD]
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As a young man, the composer Hans Gál witnessed an artistic turning point, for it was during the First World War that late Romanticism met the modern musical era. Everything was in motion. He himself was however critical of many musical initiatives and admitted InchI had too little in common with my contemporariesInch. Indeed, the orchestral surges of the Wagnerites were just as alien to him as the atonality of the Second Viennese School championed by Alban Berg and Anton Webern. The pared-down sounds of Neoclassicism and the Inchnew objectivityInch of the likes of Paul Hindemith were likewise of little use to Gál. Therefore, in his adherence to tonality and use of sophisticated formal progressions, he created a distinctive style of his own that he steadfastly embraced throughout his life. Album Tracks 1. I. Molto Moderato - Quasi Allegro [10 02] 2. II. Adagio [07 47] 3. III. Allegretto Ritenuto Assai [07 17] 4. Intrata Grave E Maestoso [04 29] 5. Siciliano Andantino [04 44] 6. Fuga Allegro Ma Non Troppo [03 50] 7. Violin Concertino, Op. 52 [17 56] 8. I. Serenade [03 47] 9. II. Scherzino [02 44] 10. III. Cavatina [03 03] 11. IV. Rondo [03 30]
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- GenreClassicalDescriptionAs a young man, the composer Hans Gál witnessed an artistic turning point, for it was during the First World War that late Romanticism met the modern musical era. Everything was in motion. He himself was however critical of many musical initiatives and admitted InchI had too little in common with my contemporariesInch. Indeed, the orchestral surges of the Wagnerites were just as alien to him as the atonality of the Second Viennese School championed by Alban Berg and Anton Webern. The pared-down sounds of Neoclassicism and the Inchnew objectivityInch of the likes of Paul Hindemith were likewise of little use to Gál. Therefore, in his adherence to tonality and use of sophisticated formal progressions, he created a distinctive style of his own that he steadfastly embraced throughout his life. Album Tracks 1. I. Molto Moderato - Quasi Allegro [10 02] 2. II. Adagio [07 47] 3. III. Allegretto Ritenuto Assai [07 17] 4. Intrata Grave E Maestoso [04 29] 5. Siciliano Andantino [04 44] 6. Fuga Allegro Ma Non Troppo [03 50] 7. Violin Concertino, Op. 52 [17 56] 8. I. Serenade [03 47] 9. II. Scherzino [02 44] 10. III. Cavatina [03 03] 11. IV. Rondo [03 30]ArtistSinfonietta RigaTitleConcertinos for Violin Cello Piano & StringFormatCDLabelProfil - G Haenssler
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As a young man, the composer Hans Gál witnessed an artistic turning point, for it was during the First World War that late Romanticism met the modern musical era. Everything was in motion. He himself was however critical of many musical initiatives and admitted InchI had too little in common with my contemporariesInch. Indeed, the orchestral surges of the Wagnerites were just as alien to him as the atonality of the Second Viennese School championed by Alban Berg and Anton Webern. The pared-down sounds of Neoclassicism and the Inchnew objectivityInch of the likes of Paul Hindemith were likewise of little use to Gál. Therefore, in his adherence to tonality and use of sophisticated formal progressions, he created a distinctive style of his own that he steadfastly embraced throughout his life. Album Tracks 1. I. Molto Moderato - Quasi Allegro [10 02] 2. II. Adagio [07 47] 3. III. Allegretto Ritenuto Assai [07 17] 4. Intrata Grave E Maestoso [04 29] 5. Siciliano Andantino [04 44] 6. Fuga Allegro Ma Non Troppo [03 50] 7. Violin Concertino, Op. 52 [17 56] 8. I. Serenade [03 47] 9. II. Scherzino [02 44] 10. III. Cavatina [03 03] 11. IV. Rondo [03 30]
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