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Emma Johnson|Brave New World

Brave New World

Emma Johnson & John Lenehen

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Langue disponible : anglais

The Brave New World referred to in the title of this release by British clarinetist Emma Johnson is that of the end of the Second World War and the period after. These are quiet chamber pieces, lyrical in nature, yet Johnson is correct, writing in a personal note that nicely supplants the drier formal analysis in the booklet, in her assertion that the war touched all of these pieces except for the placid Sonata in Re by Nino Rota, composed among the ruins in 1945. In a way, even that work seems to belong with the theme; it anticipates the great success Rota would have as a film score composer. The rest of the works demonstrate in quite a moving way the attempts of composers to keep going with what they were doing as storms gathered and then broke across their world, and the mixture of lightness and fear is compelling throughout. The music does not reflect the full force of the war in the way that of Shostakovich does, but the military tones that break into the Clarinet Sonata of Hindemith, composed in 1939, disturb the composer's usual technician's mood. The transcription of the Prokofiev Flute Sonata, Op. 94, is Johnson's own, and it expands the sparse modern repertory for clarinet. The Dance Preludes of Lutoslawski, neo-classic works, are like most of the rest of the music, little known, and they reflect the young Polish modernist's restlessness as well as the experience of war. In this context, the wartime pieces of Messiaen take on a different flavor from the usual, and the entire program is quite an uncanny experience. Highly recommended.

© TiVo

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Brave New World

Emma Johnson

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1
Sonata for Flute and Piano, Op. 94: I. Andantino (arr. Emma Johnson)
00:08:44

Sergei Prokofiev, Composer - Emma Johnson, MainArtist - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

2
Sonata for Flute and Piano, Op. 94: II. Allegretto scherzando (arr. Emma Johnson)
00:05:36

Sergei Prokofiev, Composer - Emma Johnson, MainArtist - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

3
Sonata for Flute and Piano, Op. 94: III. Andante (arr. Emma Johnson)
00:04:21

Sergei Prokofiev, Composer - Emma Johnson, MainArtist - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

4
Sonata for Flute and Piano, Op. 94: IV. Allegro con brio (arr. Emma Johnson)
00:07:21

Sergei Prokofiev, Composer - Emma Johnson, MainArtist - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

5
Sonata for Clarinet and Piano: I. Massig Bewegt
00:05:12

Paul Hindemith, Composer - Emma Johnson, MainArtist - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

6
Sonata for Clarinet and Piano: II. Lebhaft
00:02:38

Paul Hindemith, Composer - Emma Johnson, MainArtist - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

7
Sonata for Clarinet and Piano: III. Sehr Langsam
00:07:02

Paul Hindemith, Composer - Emma Johnson, MainArtist - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

8
Sonata for Clarinet and Piano: IV. Kleines Rondo, gemachlich
00:02:46

Paul Hindemith, Composer - Emma Johnson, MainArtist - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

9
Sonata in Re: I. Allegretto scorrevole
00:04:55

Nino Rota, Composer - Emma Johnson, MainArtist - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

10
Sonata in Re: II. Andante
00:04:37

Nino Rota, Composer - Emma Johnson, MainArtist - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

11
Sonata in Re: III. Allegro scorrevole
00:03:43

Nino Rota, Composer - Emma Johnson, MainArtist - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

12
Dance Preludes: I. Allegro molto
00:01:03

Emma Johnson, MainArtist - Witold Lutosławski, Composer - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

13
Dance Preludes: II. Andantino
00:02:57

Emma Johnson, MainArtist - Witold Lutosławski, Composer - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

14
Dance Preludes: III. Allegro giocoso
00:01:12

Emma Johnson, MainArtist - Witold Lutosławski, Composer - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

15
Dance Preludes: IV. Andante
00:03:44

Emma Johnson, MainArtist - Witold Lutosławski, Composer - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

16
Dance Preludes: V. Allegro molto
00:01:46

Emma Johnson, MainArtist - Witold Lutosławski, Composer - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

17
Abîme des Oiseaux
00:06:42

Olivier Messiaen, Composer - Emma Johnson, MainArtist - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

18
Vocalise–Etude
00:04:17

Olivier Messiaen, Composer - Emma Johnson, MainArtist - John Lenehen, MainArtist

(C) 2015 Champs Hill Records (P) 2015 Champs Hill Records

Chronique

The Brave New World referred to in the title of this release by British clarinetist Emma Johnson is that of the end of the Second World War and the period after. These are quiet chamber pieces, lyrical in nature, yet Johnson is correct, writing in a personal note that nicely supplants the drier formal analysis in the booklet, in her assertion that the war touched all of these pieces except for the placid Sonata in Re by Nino Rota, composed among the ruins in 1945. In a way, even that work seems to belong with the theme; it anticipates the great success Rota would have as a film score composer. The rest of the works demonstrate in quite a moving way the attempts of composers to keep going with what they were doing as storms gathered and then broke across their world, and the mixture of lightness and fear is compelling throughout. The music does not reflect the full force of the war in the way that of Shostakovich does, but the military tones that break into the Clarinet Sonata of Hindemith, composed in 1939, disturb the composer's usual technician's mood. The transcription of the Prokofiev Flute Sonata, Op. 94, is Johnson's own, and it expands the sparse modern repertory for clarinet. The Dance Preludes of Lutoslawski, neo-classic works, are like most of the rest of the music, little known, and they reflect the young Polish modernist's restlessness as well as the experience of war. In this context, the wartime pieces of Messiaen take on a different flavor from the usual, and the entire program is quite an uncanny experience. Highly recommended.

© TiVo

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