Boughton Symphony 3 & Oboe Concerto
View record and artist detailsRecord and Artist Details
Composer or Director: Rutland Boughton
Label: Hyperion
Magazine Review Date: 1/1990
Media Format: CD or Download
Media Runtime: 58
Mastering:
DDD
Catalogue Number: CDA66343

Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 3 |
Rutland Boughton, Composer
Royal Philharmonic Orchestra Rutland Boughton, Composer Vernon Handley, Conductor |
Concerto for Oboe and Orchestra No. 1 |
Rutland Boughton, Composer
Royal Philharmonic Orchestra Rutland Boughton, Composer Sarah Francis, Oboe Vernon Handley, Conductor |
Composer or Director: Rutland Boughton
Label: Hyperion
Magazine Review Date: 1/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: KA66343

Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 3 |
Rutland Boughton, Composer
Royal Philharmonic Orchestra Rutland Boughton, Composer Vernon Handley, Conductor |
Concerto for Oboe and Orchestra No. 1 |
Rutland Boughton, Composer
Royal Philharmonic Orchestra Rutland Boughton, Composer Sarah Francis, Oboe Vernon Handley, Conductor |
Author:
The tunes are distinctive and the work is colourfully and delicately scored, with most impressive writing for brass in the coda of the first movement. The Adagio contains a wistful and withdrawn central episode which, in its poetic beauty, is worthy of Elgar. There is a lively Scherzo and a finale that begins mysteriously before launching out into a dramatic expansive movement, ending grandiloquently but without pomposity. The symphony is enjoyably performed by the Royal Philharmonic Orchestra, although the strings sound undernourished in the Scherzo, and the recording is admirable.
The disc is filled out by Boughton's First Oboe Concerto, composed in 1936 for his daughter Joy, for whom Britten later wrote his Ovid Metamorphoses. This concerto is more astringent than the symphony and is scored for strings. Both the soloist's part and the accompaniment require considerable virtuosity; Sarah Francis is a supple soloist and is especially good in the intense slow movement, where an almost Straussian richness is achieved. Michael Hurd's admirable essay tells us that Boughton could not afford to travel from Gloucestershire to Oxford to hear the first performance; a sobering thought.'
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