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Elkington, Howell, Scott, Jadassohn : Œuvres orchestrales. Seferinova, Laus, Purser.
Format : 1 CD
Total Time : 01:11:26

Recording : 11/11/2010
Location : Londres
Country : Royaume-Uni
Sound : Stereo

Label : Cameo Classics
Catalog No. : CC9041
EAN : 5060388720070

Publishing Year : 2014
Release Date : 01/03/2014

Genre : Classical
Lilian Elkington (1900-1969)
Poème tonal "Out of the Mist"

Dorothy Howell (1898-1982)
Concerto pour piano et orchestre en ré mineur

Cyril Scott (1879-1970)
Concerto pour clavecin

Salomon Jadassohn (1831-1902)
Sérénade n° 3 en la majeur, op. 47

Valentina Seferinova, piano
Orion Symphony Orchestra
Toby Purser, direction
Orchestre Philharmonique de Malte
Michael Laus, clavecin, direction

DOROTHY HOWELL was born in Handsworth, Birmingham and, like Holbrooke, entered The Royal Academy of Music at the unusually early age of 15, where she studied composition under Sir J.B. McEwen. Apart from Lamia and the piano concerto, Dorothy Howell’s compositions for orchestra are not many – the overture The Rock, the ballet Koong Shee and the Three Divertissements are her most important contributions – but they are all of a uniformly high standard. The late John Drummond (a distinguished Controller of BBC Radio Three) considered her the finest British woman composer of her era. Eugene Goossens called CYRIL SCOTT the “Father of modern British music”; he has also been referred to as “the English Debussy”. A prolific composer, Scott wrote over 400 works, though many of these were piano pieces or songs. However, major compositions include four symphonies, four opera, four large scale choral works – including the outstanding Hymn of Unity, and numerous concertos. There is also a considerable body of chamber music. LILIAN ELKINGTON was born in Birmingham and studied piano and composition at the Birmingham and Midland Institute School of Music with Sir Granville Bantock. She also studied the organ, and became a Licentiate of the Royal Academy of Music and Associate of the Royal College of Organists in her early twenties. This was almost certainly Elkington’s first work for orchestra and one can only marvel at the extraordinary mastery of that medium which it displays.

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