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LM 7409
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LM 7409

Walton: Cello Concerto - Facade

The Classical Shop
release date: April 2009


Artists:

English Opera Group Orchestra


BBC Symphony Orchestra


Paul Sacher


Malcolm Sargent


Gregor Piatigorsky

cello

Joan Cross

soprano

Peter Pears

tenor

Venue:

Royal Albert Hall, London

1953

Royal Festival Hall, London

1957

Record Label
MP Live

Genre:

Orchestral & Concertos




Total Time - 71:10
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WILLLIAM WALTON

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Cello Concerto

 
1 Opening announcement 1:59
2 I Moderato 8:46
3 II Allegro appassionato 6:56
4 III Theme and improvisations 14:53
5 Applause 0:13
6 Closing announcement 0:47
 Gregor Piatigorsky cello
 Malcolm Sargent
     
 

Façade

 
7 Fanfare 0:30
8 Hornpipe 1:18
9 En famille 2:50
10 Mariner Man 0:42
11 Long steel grass 2:22
12 Through gilded trellises 2:11
13 Tango-Pasodoble 1:59
14 Lullaby for Jumbo 1:41
15 Black Mrs. Behemoth 0:55
16 Tarantella 1:16
17 A man from a far countree 1:42
18 By the lake 1:59
19 Country dance 1:41
20 Polka 1:19
21 Four in the morning 2:15
22 Something lies beyond the scene 0:54
23 Valse 3:25
24 Jodelling song 2:39
25 Scotch rhapsody 1:10
26 Popular song 1:57
27 Fox-trot ‘Old Sir Faulk’ 1:50
28 Sir Beelzebub 1:01
 Peter Pears tenor
 Joan Cross soprano
 Paul Sacher
Lovers of mid-century English music will easily identify the special nature of this Cello Concerto performance: the dominant presence of Gregor Piatigorsky, aristocratic prince among cellists. The speaking tone of his Stradivari cello is recognisable from the outset, character matched to music like Callas singing ‘Casta Diva’, moving from the introspective reflection of the first movement to the dashing, chatty central Scherzo with exquisite taste. Piatigorsky had given the first performance of the Concerto in Boston two weeks previously, and made a commercial recording three days later. At the European premiere three days later, BBC Radio and TV were present; the TV broadcast has already been released, but this issue derives from a different source, complete with original broadcast announcements, and sounds fresh for its vintage.

The Façade is more unusual. Paul Sacher (1906-1999) is still best known as a philanthropist, who commissioned over 200 works from the great names of postwar music including Boulez, Birtwistle, Carter, Lutoslawski and Tippett. This alone would assure him a place in the pantheon. But he was also a talented conductor, who founded the Basle Chamber Orchestra in 1926 and revived Mozart’s Idomeneo in 1931, at a time when Mozart’s operas were only beginning to be rediscovered. What he commissioned for the Basle Chamber Orchestra, he conducted, so he was well placed to handle the quicksilver changes in mood and tempi that mark Walton’s early and witty theatrical entertainment. Peter Pears, too, reveals comic gifts that have often gone under-appreciated.

Lovers of mid-century English music will easily identify the special nature of this Cello Concerto performance: the dominant presence of Gregor Piatigorsky, aristocratic prince among cellists. The speaking tone of his Stradivari cello is recognisable from the outset, character matched to music like Callas singing ‘Casta Diva’, moving from the introspective reflection of the first movement to the dashing, chatty central Scherzo with exquisite taste. Piatigorsky had given the first performance of the Concerto in Boston two weeks previously, and made a commercial recording three days later. At the European premiere three days later, BBC Radio and TV were present; the TV broadcast has already been released, but this issue derives from a different source, complete with original broadcast announcements, and sounds fresh for its vintage.

The Façade is more unusual. Paul Sacher (1906-1999) is still best known as a philanthropist, who commissioned over 200 works from the great names of postwar music including Boulez, Birtwistle, Carter, Lutoslawski and Tippett. This alone would assure him a place in the pantheon. But he was also a talented conductor, who founded the Basle Chamber Orchestra in 1926 and revived Mozart’s Idomeneo in 1931, at a time when Mozart’s operas were only beginning to be rediscovered. What he commissioned for the Basle Chamber Orchestra, he conducted, so he was well placed to handle the quicksilver changes in mood and tempi that mark Walton’s early and witty theatrical entertainment. Peter Pears, too, reveals comic gifts that have often gone under-appreciated.

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