Muldowney Piano Concerto. Saxophone Concerto
View record and artist detailsRecord and Artist Details
Composer or Director: Dominic Muldowney
Label: EMI
Magazine Review Date: 5/1988
Media Format: CD or Download
Media Runtime: 47
Mastering:
DDD
Catalogue Number: 749715-2

Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra |
Dominic Muldowney, Composer
BBC Symphony Orchestra Dominic Muldowney, Composer Mark Elder, Conductor Peter Donohoe, Piano |
Concerto for Saxophone and Orchestra |
Dominic Muldowney, Composer
Diego Masson, Conductor Dominic Muldowney, Composer John Harle, Saxophone London Sinfonietta |
Composer or Director: Dominic Muldowney
Label: EMI
Magazine Review Date: 5/1988
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: EL749715-4

Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra |
Dominic Muldowney, Composer
BBC Symphony Orchestra Dominic Muldowney, Composer Mark Elder, Conductor Peter Donohoe, Piano |
Concerto for Saxophone and Orchestra |
Dominic Muldowney, Composer
Diego Masson, Conductor Dominic Muldowney, Composer John Harle, Saxophone London Sinfonietta |
Composer or Director: Dominic Muldowney
Label: EMI
Magazine Review Date: 5/1988
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: EL749715-1

Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra |
Dominic Muldowney, Composer
BBC Symphony Orchestra Dominic Muldowney, Composer Mark Elder, Conductor Peter Donohoe, Piano |
Concerto for Saxophone and Orchestra |
Dominic Muldowney, Composer
Diego Masson, Conductor Dominic Muldowney, Composer John Harle, Saxophone London Sinfonietta |
Author:
The first thing to say about the music is that both pieces sound like concertos, in that the solo parts are showy and exhibitionist, with effectively judged relationships to their accompaniments. The Piano Concerto exploits Donohoe's special affinity for the twentieth-century repertoire; the Saxophone Concerto does not censor out any of the instrumental associations which might possibly cause embarrassment—the Paris Conservatoire test piece the television advertisement, the big-band sound, the 'crossover' style of pieces like Berg's Violin Concerto.
So are we dealing with pastiche? In a sense surely yes, since the Piano Concerto seems to be structured around a series of portraits most obviously of Stravinsky, Berg, Ives and Messiaen, and since the Saxophone Concerto seems out to emulate the sensuous charm of a Jean Francaix in its first movement and the dynamism of a Bernstein in its finale. But that isn't the whole story. Just when the Saxophone Concerto seems to have blundered by starting its middle movement in the same lyrical vein as the first, it starts to grow intriguingly into something more active and more vital; and I like the way this work lays a false trail at the beginning, with long-term musical consequences as well as a pleasing local effect. No less appealing are the unexpected flare-ups and cross-cuttings which break into the Berg 'portrait' in the Piano Concerto.
If I understand Muldowney correctly—from his interview with Paul Griffiths in the latter's
The fact remains that this is an attractive record, and both concertos are certainly marvellous vehicles for their respective soloists. Many will also applaud Muldowney's refusal to hide behind an intellectual smoke-screen. Getting to know these works has been a rewarding experience, and it may be that more leisurely acquaintance will reveal even more of an individual voice. Definitely one of the more enjoyable contemporary releases of the year.'
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