Life Force
View record and artist detailsRecord and Artist Details
Composer or Director: Sergey Rachmaninov, Max Bruch, Arthur Pryor, Robert Schumann, Gabriel Fauré, Friedebald Gräfe, Johannes Brahms, Gustav Mahler
Genre:
Chamber
Label: Rubicon
Magazine Review Date: 09/2018
Media Format: CD or Download
Media Runtime: 66
Mastering:
DDD
Catalogue Number: RCD1028
Tracks:
Composition | Artist Credit |
---|---|
Apres une Rêve |
Gabriel Fauré, Composer
Gabriel Fauré, Composer James Baillieu, Piano Peter Moore, Trombone |
(3) Fantasiestücke |
Robert Schumann, Composer
James Baillieu, Piano Peter Moore, Trombone Robert Schumann, Composer |
Sonata for Cello and Piano |
Sergey Rachmaninov, Composer
James Baillieu, Piano Peter Moore, Trombone Sergey Rachmaninov, Composer |
Trombone Concerto |
Friedebald Gräfe, Composer
Friedebald Gräfe, Composer James Baillieu, Piano Peter Moore, Trombone |
Kol Nidrei |
Max Bruch, Composer
James Baillieu, Piano Max Bruch, Composer Peter Moore, Trombone |
(4) Ernste Gesänge, 'Four Serious Songs' |
Johannes Brahms, Composer
James Baillieu, Piano Johannes Brahms, Composer Peter Moore, Trombone |
Lieder aus 'Das Knaben Wunderhorn', Movement: Urlicht |
Gustav Mahler, Composer
Gustav Mahler, Composer James Baillieu, Piano Peter Moore, Trombone |
Thoughts of Love |
Arthur Pryor, Composer
Arthur Pryor, Composer James Baillieu, Piano Peter Moore, Trombone |
Author: Richard Bratby
Moore is helped at every stage of the way by his duet partner, James Baillieu – who supports him with the same sensitivity to mood and colour that he brings to Lieder. And this is a real partnership: the way Baillieu teases gently at the piano part of the slow movement from Rachmaninov’s Cello Sonata, or generates a hushed, pregnant space at the opening of Brahms’s Op 121 songs, very audibly gives Moore something to work with and helps shape the direction of his long, carefully phrased lines.
The Brahms, Bruch and Mahler transcriptions, with their prevailingly sombre atmosphere, perhaps convince more fully than Schumann’s more mercurial Fantasiestücke – though Moore and Baillieu find something distinctive to say in everything here. I hope Moore will take it as the compliment that’s intended when I say that his pianissimo tone in the Schumann is reminiscent of a horn. And that the two ‘lollipops’ – the Pryor and the amusingly jaunty Concerto by Friedebald Gräfe – have just as much character, providing enjoyable contrast in a predominantly serious (though always beautiful) recital.
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