BLISS: Cello Concerto, ...

Lloyd-Jones, David;
Hugh, Tim;
English Northern Philharmonia

8.553383

There are three movements, as befits a classical concerto, of which the first, by far the most extended, is based on robust, expansive material, leaping intervals and dotted, characteristic Bliss rhythms which, in various states of development, permeate the whole work. The second is tender, perhaps slightly sad, an interplay of muted tones and little private dialogues between soloist and wind instruments, sometimes horns. It is mostly in compound time and triplets, and would be a lullaby except that it will not settle. The third is a coming-together of disparates, mostly athletic or puckish, with almost a cabaret of rapid mood and metre changes and a contrasting sostenuto section that genuinely touches the heart, albeit gently - lyrical but not sentimental - before the very opening theme bursts back upon us and a Vivo coda precipitates us to the conclusion "joy in writing" shines out of almost every bar. • On the face of it, the Concerto does almost everything soloists hate: they play a strenuously demanding part calling for the uttermost of technique and finesse, offering very little opportunity for display but affording every chance to make mistakes. They do this for a long time, with scarcely a bar's rest, and for the most part severely exposed. There are pitfalls galore, no hiding places and very little glory. And yet, not one player have I met with a bad word to say about it.

CD

Muzyka klasyczna

Naxos

01-10-1996

730099438322