Douglas Bostock

The Bohemian Masters-Vol.2

At Twilight, op. 39 Idyll for Orchestra: At Twilight, op. 39 Idyll for Orchestra

Idyll for Clarinet & Orchestra, op. 17: Idyll for Clarinet & Orchestra, op. 17

Valse Triste: Valse Triste

Characteristic Overture: The Hunt of Emperor Charles IV.: Characteristic Overture: The Hunt of Emperor Charles IV.

Carlsbad Waltz: Carlsbad Waltz

The Old Grumbler, op. 210 Comic polka for Basson & Orchestra: The Old Grumbler, op. 210 Comic polka for Basson & Orchestra

Overture Marinarella, op. 215: Overture Marinarella, op. 215

Jump–Dance of the Clowns from The Bartered Bride (Opera): Jump–Dance of the Clowns from The Bartered Bride

Südwestdeutsches Kammerorchester Pforzheim

William Smethergell

Smethergell: Overture in 8 Parts, Op. 5 Nos. 1-6

Andreea Chira

South West German Chamber Orchestra, Pforzheim

Carlos Pino-Quintana

The Magic of the Pan Flute

Sir Malcolm Sargent

Coleridge-taylor Symphony in A Major, Hiawatha's Wedding Feast

Vasco Dantas

Departure - Works by Mozart

Ethel Smyth

Susan Spain-Dunk

Vol. 3 in our successful series with Music for Strings by British Composers features works by four important Women Composers, some of whom initially were underappreciated and whose music only later was performed again and received proper recognition. However, the period from 1893 to 1934 was still an extremely favorable time for British women composers who wanted to present their works on their country’s concert stages inasmuch as they could count on support principally from Sir Henry Wood at the Proms and Dan Godfrey in Bournemouth. Ethel Smyth (familiar to our listening audience from cpo albums with works by her) and Susan Spain-Dunk in particular profited from this support. In addition, this release presents recording premieres of string compositions by Constance Warren and Ruth Gipps, in part in editions by the conductor Douglas Bostock himself. On Vol. 3 the Southwest German Chamber Orchestra of Pforzheim once again “explores the works with a lot of understanding for the particular personal style and with a fine sense of sound. Douglas Bostock knows how to bring out manifold colors from the orchestra and also, when needed, how to sharpen the tone and to place the sonority of the whole in the foreground” (klassik.com 4/2021 of Vol. 2).

British Music for Strings, Vol. 3

Roman Patkoló

Johannes Matthias Sperger

Johann Matthias Sperger, the standout double bassist among the leading forces of the Viennese School in Germany, honored his instrument with greater virtuosity and more compositional versatility than any other composer. This fact is documented by his eighteen double bass concertos, all of which have come down to us in the autographic scores and in some cases in the parts and are available for consultation in the Schwerin Library. On Vol. 2, which features Concertos Nos. 1 and 8, Sperger once again gives the double bass the solo space it needs to display its song qualities, often with extremely striking and exceptional themes. And as already on Vol. 1, our soloist Roman Patkoló “does complete justice to what are sometimes the breakneck demands of the concertos” (klassik-heute. com of Vol. 1). The album also includes Sperger’s Symphony No. 15, a work that has a tonal language very close to that of Haydn – and that here is being performed and recorded on album for the first time, 239 years after its composition.

Sperger: Double Bass Works

Christopher Wilson

Sir Granville Bantock

Our second album with music for strings by British composers features most highly creative compositions by Sir Granville Bantock and Christopher Wilson. When Bantock reached the pinnacle of his fame, the Three Choirs Festival held in Hereford in 1912 ordered a work for string orchestra from him. The result was the four-movement Serenade for Strings, to which he assigned the subtitle “In the Far West.” Bantock’s string movements are distinguished by an impressive tonal richness. After the performance Douglas Bostock remarked: “I am truly amazed – this is anything but a ‘Serenade,’ as the innocuous title suggests. The succinct, symphonically developed music is nothing other than a string symphony with a demanding writing style representing a genuine tour de force.” Moreover, extensive recorded material documents the Scottish melodies used by Bantock in his Scenes from the Scottish Highlands. For them he chose the finely managed format of three fast dances separated by two euphonious slow movements. The six short movements in traditional or dance style forming Christopher Wilson’s Suite for String Orchestra made it something new and fresh when it was premiered in 1901, and it came over very well. It is thought that one of the composer’s goals was to connect with the tradition of Johann Sebastian Bach.

British Music for Strings II

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The Bohemian Masters-Vol.2

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