ARNOLD Concerto for Two Violins and Strings ATTERBURG Suite

Record and Artist Details

Composer or Director: Peter Seabourne, Ståle Kleiberg, Kurt (Magnus) Atterberg, Malcolm Arnold

Genre:

Chamber

Media Format: CD or Download

Media Runtime: 53

Mastering:

DDD

Catalogue Number: SH091

SH091. ARNOLD Concerto for Two Violins and Strings ATTERBURG Suite

Tracks:

Composition Artist Credit
Aske Ståle Kleiberg, Composer
Agnes Langer, Violin
Mainzer Virtuosi
Ståle Kleiberg, Composer
This is a song for you alone Peter Seabourne, Composer
Irina Borissova, Violin
Mainzer Virtuosi
Peter Seabourne, Composer
Suite for Violin, Viola and String Orchestra Kurt (Magnus) Atterberg, Composer
Agnes Langer, Violin
Dmitry Khakhalin, Viola
Kurt (Magnus) Atterberg, Composer
Mainzer Virtuosi
Concerto for Two Violins and Strings Malcolm Arnold, Composer
Agnes Langer, Violin
Irina Borissova, Violin
Mainzer Virtuosi
Malcolm Arnold, Composer
The Mainz Virtuosi are a multinational string ensemble comprising fellow students at the Hochschule für Musik in Mainz. As they are all young prize-winners starting out on their careers, they have more of a predilection for concertante pieces than for the chamber music one might expect of a disc of this type. Of the repertoire here, only the Arnold Double Concerto is played with any regularity. The rest is a cornucopia of rarities of real beauty: Ståle Kleiberg’s Aske (‘Ashes’) is a depiction of Edvard Munch’s painting of the same name and provides the prelude to a disc that has a strong compounding sense of familiarity running through it.

Despite the almost symphonic quality of the orchestration of the pieces here, the intimacy of the actual ensemble is handled sensitively and with mature reciprocity – this is particularly evident in the second movement of Peter Seabourne’s two-movement concerto This is a song for you alone. Ultimately, though, this disc showcases two young violinists, Agnes Langer and Irina Borissova, and at no point on the disc is their talent for musical story-telling so evident as in the opening of the Arnold. They roll responsively with the music, allowing it to unfold as it wants to – one minute rough and uneven, the next smooth and conciliatory – within a strange conflation of styles simultaneously reminiscent of Peter Warlock and his frank, free-spirited Englishness, and, at times, music of the Italian Baroque.

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