The Art of Gary Gray
View record and artist detailsRecord and Artist Details
Composer or Director: Witold Lutoslawski, Gioachino Rossini, Aaron Copland, Malcolm Arnold
Label: Unicorn-Kanchana
Magazine Review Date: 2/1988
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: DKPC9066

Tracks:
Composition | Artist Credit |
---|---|
Concerto for Clarinet and String Orchestra with Harp |
Aaron Copland, Composer
Aaron Copland, Composer Gary Gray, Clarinet Harry Newstone, Conductor Royal Philharmonic Orchestra |
Dance Preludes |
Witold Lutoslawski, Composer
Gary Gray, Clarinet Harry Newstone, Conductor Royal Philharmonic Orchestra Witold Lutoslawski, Composer |
Concerto for Clarinet and Strings No. 1 |
Malcolm Arnold, Composer
Gary Gray, Clarinet Harry Newstone, Conductor Malcolm Arnold, Composer Royal Philharmonic Orchestra |
Introduction, Theme and Variations |
Gioachino Rossini, Composer
Gary Gray, Clarinet Gioachino Rossini, Composer Harry Newstone, Conductor Royal Philharmonic Orchestra |
Composer or Director: Witold Lutoslawski, Gioachino Rossini, Aaron Copland, Malcolm Arnold
Label: Unicorn-Kanchana
Magazine Review Date: 2/1988
Media Format: CD or Download
Media Runtime: 59
Mastering:
DDD
Catalogue Number: DKPCD9066

Tracks:
Composition | Artist Credit |
---|---|
Concerto for Clarinet and String Orchestra with Harp |
Aaron Copland, Composer
Aaron Copland, Composer Gary Gray, Clarinet Harry Newstone, Conductor Royal Philharmonic Orchestra |
Dance Preludes |
Witold Lutoslawski, Composer
Gary Gray, Clarinet Harry Newstone, Conductor Royal Philharmonic Orchestra Witold Lutoslawski, Composer |
Concerto for Clarinet and Strings No. 1 |
Malcolm Arnold, Composer
Gary Gray, Clarinet Harry Newstone, Conductor Malcolm Arnold, Composer Royal Philharmonic Orchestra |
Introduction, Theme and Variations |
Gioachino Rossini, Composer
Gary Gray, Clarinet Gioachino Rossini, Composer Harry Newstone, Conductor Royal Philharmonic Orchestra |
Author: Arnold Whittall
A tendency to caution and understatement is also evident in Gray's performance of the Arnold concerto, a substantial piece completed in the same year as Copland's, 1948. A bolder, more button-holing manner might have brought its characteristic contrasts of the dour and the delicate more vividly to life. In this account, both the opening Allegro and the slow movement tend to meander, but the pungent finale, in which Arnold isn't afraid to work a very simple basic idea hard so that menace keeps geniality at bay, does at last generate the necessary heat. (In the notes, the concerto's second and third movements are surrealistically misprinted as Allegro con moto and Andante con fuoco!)
The two shorter works are nothing if not well contrasted. Lutoslawski's
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