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AV 2190
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AV 2190
To Notice Such Things

Lord: To Notice Such Things

The Classical Shop
release date: April 2010

Originally recorded in 2010

Artists:

Royal Liverpool Philharmonic Orchestra


Clark Rundell


Fiona Paterson

flute

Cormac Henry

flute

David Pigott

horn

Tim Nicholson

horn

Jon Lord

piano

Thelma Handy

violin

Venue:

The Friary, Liverpool, England



Producer:

John Fraser


Andrew Cornall

(Executive)

Engineer:

Philip Hobbs



Record Label
Avie Records

Genre:

Orchestral & Concertos




Total Time - 53:41
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To Notice Such Things

   
Select Complete Single Disc for
 

JON LORD

   
 

To Notice Such Things

27:00  
  Suite for Solo Flute, Piano and String Orchestra  
  In memoriam Sir John Mortimer CBE QC (1923-2009)  
1 As I Walked Out One Evening 4:17
2 At Court 5:33
3 Turville Heath 3:02
4 The Stick Dance 4:45
5 The Winter Of A Dormouse 5:32
6 Afterwards 3:47
   
7 

Evening Song (Instrumental version)

8:07
 Fiona Paterson flute
 David Pigott horn
 Tim Nicholson horn
 Thelma Handy violin
8 

For Example

9:06
  Dedicated to Øyvind Gimse and The Trondheim Soloists  
9 

Air On The Blue String

6:31
  Dedicated to Matthew Barley  
10 

Afterwards

3:01
  by Thomas Hardy  
  Read by Jeremy Irons  
Jon Lord: To Notice Such Things, etc.RLPO, Rundell

‘“He was a man who used to notice such things” is the last line of Thomas Hardy’s poem “Afterwards”, in which the poet tries to imagine what people might say about him after his death. With this poem the barrister and writer John Mortimer would close his travelling one-man show, in which his friend Jon Lord used to perform. In the main work here, a programmatic six-movement suite for solo flute, piano, and string orchestra, Lord evokes the wit of Mortimer and aspects of his life and career. Familiar from Lord’s previous concert-hall works is the fluent, enjoyable re-imagining of later nineteenth- and earlier twentieth-century symphonic writing and the subject matter of “friends pictured within”. Lord outlines the “programme” of “At Court”, the second movement of the Mortimer Suite, to suggest something that Verdi or Elgar might have set: “John in his glory in the late ’60s, ’70s, and early c’80s… one of the great barristers, known for his hugely quick wit and love of debate. He also loved women…” On paper this might sound derivative or even coy, but the result sounds, delightfully, as if Bartók had been enticed to London in the 1930s to work with Eric Coates or Robert Farnon.

‘The central-European atmosphere continues in “The Trick Dance”, an illustration of the dancing-by-proxy which Mortimer, restricted by a stick, still enjoyed in later life. There are also bleaker moments, over which Sibelius and Grieg cast their shadows, as in the movements “The Winter of Dormouse” and “Afterwards”, and in For Example, a development of a piano piece that pays tribute to the difficult life of the composer’s teacher. The album ends with Lord accompanying Jeremy Irons as he reads the poem “Afterwards”. Performance and recording are both first-class.’

Mike Ashman, Gramophone (Editor’s Choice)

"...I find myself favourably impressed. In fact very much so..."

Raymond Tuttle

 

Fanfare - May/June 2010

"... achingly sincere, beautifully crafted and lovingly performed as to defy doubters. Among the fill-ups, For Example and Air on the Blue String are more adventurous fare."  ****

Phillip Sommerich

 

Classical Music - 8 May 2010



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