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NA 7752
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NA 7752

ENGLISH STRING MINIATURES, Vol. 5

The Classical Shop
release date: May 2008

Originally recorded in 2008

Artists:

Royal Ballet Sinfonia


Gavin Sutherland



Record Label
Naxos

Genre:

Classical




Total Time - 75:23
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PAMELA HARRISON

 

Suite for Timothy

 
1 I. Allegretto 2:44
     
2 II. Tempo di valse 2:42
     
3 III. Presto 3:26
     
4 IV. Lento 5:42
     
5 V. Allegro vivace 3:36
     
 

FRANCIS CHANGRIN

 

Renaissance Suite

 
6 I. Intrada marziale 1:01
     
7 II. Pavana e gagliarda 2:44
     
8 III. Canzona lamentevole 1:37
     
9 IV. Rondo giocioso 1:37
     
 

PERCY E. FLETCHER

 

Folk Tune and Fiddle Dance

 
10 Folksong 5:21
     
11 Fiddle Dance 3:36
     
 

PAUL LEWIS

 

Suite Navarraise

 
12 I. Arrive a Pau 3:32
     
13 II. Berceau d'un prince 4:14
     
14 III. Le vert gallant 3:05
     
 

ALBERT CAZABON

15 

Giocoso

2:53
     
 

H. SEARLE / THOMAS ROSEINGRAVE

 

Voluntaries and Fugues (arr. H. Searle)

 
16 Fugue I 4:27
     
17 Voluntary IV 2:50
     
18 Fugue III 2:29
     
 

JOHN IRELAND

 

A Downland Suite (completed G. Bush)

 
19 I. Prelude 4:28
     
20 II. Elegy 4:58
     
21 III. Minuet 4:43
     
22 III. Rondo 3:38
 Gavin Sutherland
English String Miniatures, Vol. 5 – The Royal Ballet Sinfonia, Gavin Sutherland

‘Naxos continues to unearth a host of modest but very attractive works – mostly pastoral in mood – by skilled practitioners of the “light music” genre, which the English, Lord love ’em, might as well have patented. Why are British composers so good at writing music that seeks to evoke an optimistic, or at its heaviest a wistfully nostalgic mood, simply to entertain the widest possible audience? It may be a matter of supply and demand. The BBC has always been a steady market for fresh scores requiring small-to-medium-sized ensembles; so has the native cinema; so, to a diminishing extent, has the theatre. And major UK orchestras have unapologetically programmed the better specimens of “light” music, often as a way to clear the audiences’ palates before a concert’s heavyweight symphonic fare. All of these factors used to obtain in the US, but all are now close to extinction (when was the last time you heard a Strauss waltz or a Suppé overture in a “serious” concert?).

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