Horovitz Alice in Wonderland (excs)

Record and Artist Details

Composer or Director: Joseph Horovitz

Label: Max Sound

Media Format: Cassette

Media Runtime: 0

Mastering:

DDD

Catalogue Number: MSCC1

Tracks:

Composition Artist Credit
Alice in Wonderland Joseph Horovitz, Composer
English Northern Philharmonia
Joseph Horovitz, Conductor
Joseph Horovitz, Composer

Composer or Director: Joseph Horovitz

Label: Max Sound

Media Format: Cassette

Media Runtime: 0

Mastering:

DDD

Catalogue Number: MSCB1

Tracks:

Composition Artist Credit
Alice in Wonderland Joseph Horovitz, Composer
English Northern Philharmonia
Joseph Horovitz, Composer
Joseph Horovitz, Conductor
An Alice in Wonderland ballet! Now there, you would think, would be the obvious subject for a children's ballet with adult music, the dancing-stage's answer to the singing-stage's Hansel and Gretel. Yet it took until 1953 (as far as I know) for the idea to be put into practice, and another 31 years for the music (in anything like its entirety) to find its way on to disc.
It can now be established, not only for theatre-goers, that the music considered in its own right is entirely charming, as is that of Humperdinck in the other context. Indeed, if anything, Horovitz tends to stress the charm (as, absolutely rightly, in Alice's appeal to the Court on behalf of the Knave of Hearts) at the expense, perhaps, of some of the livelier situations, especially in the choreographic sense: neither waltz, nor quadrille, nor galop quite seem to provide anything in the nature of a whirlwind show-stopper. Nevertheless the whole hangs together splendidly, as the success of the ballet in the theatre strongly indicates. Perhaps one day there will be a rival balletic version of the story, for London's living composers include Stephen Dodgson, a direct descendant of Lewis Carroll. In the meantime the success of Horovitz remains unchallenged.
His own challenge to the orchestra is met splendidly by the English Northern Philharmonia, perhaps better know as the orchestra of Opera North. Their performance here abundantly warrants their entry into the current catalogue, though when they follow it up, as I hope they will, I also hope that a different recorded balance will modify the present undue emphasis (particularly in the more strictly dance sections) on trumpets and trombones (the bass trombone especially). This apart (which will hardly worry any of today's children—or if it does they will have an uncomfortable future in the disco!) the recorded quality is very good, as are the very full and helpful notes included, together with an interesting collection of photographs of several different productions. Strongly recommended, for children and adults alike.'

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