Various Artists Around Britten

Around Britten

Various Artists

Paru le 14 janvier 2013 chez Signum Records

Artiste principal : Matthew Barley

Genre : Classique

Inclus : 1 Livret numérique

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This release by British cellist Matthew Barley serves admirably as a solo cello recording that doesn't bog down over the course of 70-plus minutes, and there's more to recommend it as well. The album consists mostly of music by Britten himself, with examinations of his influence in two different directions represented by Gavin Bryars and John Tavener. Barley picks fairly obscure works by Britten that seem to illuminate the essentially personal nature of his work. The highlight is the Third Suite for cello, Op. 87, composed for Mstislav Rostropovich in 1971, five years before Britten's death. The work originated during Britten's stay in the Soviet Union, and it is based on a Russian Orthodox melody, the Kontakion, that appears in full only at the end of the work. No word on what Britten's Soviet hosts thought of this during a period when religious expression was strongly discouraged, but the work does not come off as really Russian in flavor; instead, the ailing Britten seems to have been attracted by the transcendent mood of the melody, and he produced a work that carries the flavor of seeming to approach the moment of transcendence from different directions. Barley finds an intriguing way of asserting Britten's continued relevance to a young musician steeped in modern technology: he plays several of Britten's arrangements of folk songs in rearranged versions for his own single cello, multi-tracked. Few would claim the music on this release as top-rank Britten, but Barley makes an extremely imaginative case for it.
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Album : 1 disque - 24 pistes Durée totale : 01:12:29

  1. 1 Third Suite for Cello, Op. 87: I Introduzione: Lento

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  2. 2 Third Suite for Cello, Op. 87: II Marcia: Allegro

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  3. 3 Third Suite for Cello, Op. 87: III Canto: Con moto

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  4. 4 Third Suite for Cello, Op. 87: IV Barcarola: Lento

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  5. 5 Third Suite for Cello, Op. 87: V Dialogo: Allegretto

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  6. 6 Third Suite for Cello, Op. 87: VI Fuga: Andante espressivo

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  7. 7 Third Suite for Cello, Op. 87: VII Recitativo: Fantastico

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  8. 8 Third Suite for Cello, Op. 87: VIII Moto perpetuo: Presto

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  9. 9 Third Suite for Cello, Op. 87: IX Passacaglia: Lento solenne

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  10. 10 Third Suite for Cello, Op. 87: Mournful Song

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  11. 11 Third Suite for Cello, Op. 87: Autumn

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  12. 12 Third Suite for Cello, Op. 87: Street Song

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  13. 13 Third Suite for Cello, Op. 87: Depart in Peace, with the Saints (Kontakion)

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  14. 14 Greensleeves

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  15. 15 The Salley Gardens

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  16. 16 Tre Laude Dolce: I

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  17. 17 Tre Laude Dolce: II

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  18. 18 Tre Laude Dolce: III

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  19. 19 Since She Whom I Loved

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  20. 20 Threnos

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  21. 21 Chant

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  22. 22 Concord

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  23. 23 Improvisation

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  24. 24 Oliver Cromwell

    Matthew Barley, Main Artist Copyright : (C) 2012 Signum Records (P) 2012 Signum Records

  • Descriptif de l'album
  • This release by British cellist Matthew Barley serves admirably as a solo cello recording that doesn't bog down over the course of 70-plus minutes, and there's more to recommend it as well. The album consists mostly of music by Britten himself, with examinations of his influence in two different directions represented by Gavin Bryars and John Tavener. Barley picks fairly obscure works by Britten that seem to illuminate the essentially personal nature of his work. The highlight is the Third Suite for cello, Op. 87, composed for Mstislav Rostropovich in 1971, five years before Britten's death. The work originated during Britten's stay in the Soviet Union, and it is based on a Russian Orthodox melody, the Kontakion, that appears in full only at the end of the work. No word on what Britten's Soviet hosts thought of this during a period when religious expression was strongly discouraged, but the work does not come off as really Russian in flavor; instead, the ailing Britten seems to have been attracted by the transcendent mood of the melody, and he produced a work that carries the flavor of seeming to approach the moment of transcendence from different directions. Barley finds an intriguing way of asserting Britten's continued relevance to a young musician steeped in modern technology: he plays several of Britten's arrangements of folk songs in rearranged versions for his own single cello, multi-tracked. Few would claim the music on this release as top-rank Britten, but Barley makes an extremely imaginative case for it.

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