RODION SHCHEDRIN (b.1932): Oboe Concerto (Alexei Ogrintchouk [oboe], Susanna Mälkki [conductor]), LUCIANO BERIO (1925-2003): Solo for Trombone and Orchestra (Jörgen van Rijen [trombone], Ed Spanjaard [conductor]), DETLEV GLANERT (b.1960): Fluss ohne Ufer (Markus Stenz [conductor]), JOEY ROUKENS (b.1982): Out of control (David Robertson [conductor]), WILLEM JETHS (b.1959): Scale "le tombeau de Mahler" (Spanjaard [conductor]), GUSTAV MAHLER (1860-1911)/COLIN MATTHEWS (b.1946): Nicht zu Schnell (Lothar Zagrosek [conductor]), GEERT VAN KEULEN (b.1943): 5 tragische Lieder (Detlef Roth [baritone], Zagrosek [conductor]).
Catalogue Number: 02N071
Reference: RCO 11001
Description: The Mahler is Matthews' excellent orchestration of the early (1876) piano quartet movement. The music, in this guise anyway, is recognisably Mahlerian - of the early period, Das Klagende Lied and the early Wunderhorn songs - and Matthews matches this in orchestration that doesn't attempt the exquisite balance and refinement of the later scores but works well with the material and entirely disguises its origins as chamber-music juvenilia. Van Keulen's Lieder have a somewhat Mahlerian feel; Anna Enquist's poems treat similar subject matter to Kindertotenlieder, and the music has a late-romantic intensity and drama, with evocations of funerary and hunting music. Glanert, following his teacher, Henze, likewise absorbs an extended late-romantic chromaticism into his own idiom in a brooding, organic tone-poem based on his own opera Das Holzschiff. Jeths' work explicitly explores the theme of death in Mahler's music, with overt references to a number of Mahlerian motifs, especially from the tenth symphony, in the course of this somber, tragic, ultimately resigned piece. The Roukens also makes reference to Mahler's æsthetic in some passages, while passing through some areas of more recent musical landscape - still very tonal - along the way, including minimalism and popular culture. Shchedrin's concerto is predominantly tragic in tone, reminiscent of the bitter melancholy of some Shostakovich, with achingly lyrical lines for the soloist. In Berio's aptly named Solo the soloist plays a continuous stream-of-consciousness soliloquy ('absurdly difficult' in the composer's own estimation) involving complex extended techniques, while the orchestra weaves an independent tapestry of exotic sound around the solo line, framing and punctuating it without interacting with it in the usual concertante sense. Hindson's exuberant piece for two violins draws on various popular styles of music, providing an extroverted, if slightly odd, encore. 2 CDs. German texts. Royal Concertgebouw Orchestra. RCO Live SACD hybrid