Pianists will be familiar with the Two-Part Inventions and Sinfonias – basically pieces with two and three separate lines, with an educational intent, to develop playing the independent lines together. S Bach’s ( 1685-1750) keyboard works to perform in various combinations of instruments. The ensemble incantati, which consists of Emma Murphy (recorders), Rachel Stott (viola d’amore) and Asako Morikawa (viola da gamba), have collected together a selection of J. Wilson and the Sinfonia of London are highly impressive throughout these performances, bringing energy, precision and a glorious string sound to this rich repertoire.
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The Finale sets off at a cracking pace, and is full of urgent energy. The violent outburst which interrupts the solace of the central solo passage is positively shocking here, and Wilson certainly extracts maximum drama from the score.
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The Lento religioso is heartfelt, but with a Mahlerian profundity that is arresting, and Wilson and the players give this sumptuous weight without any wallowing, and the repeated notes throb with insistent intensity. The second movement Intermezzo has virtuosic pizzicato writing, and here the Sinfonia of London players excel, with tight ensemble and rhythmic energy, making the strange brief interjections of glassy bridge bowing and swoops stand out even more.
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Its opening movement shows an immediate shift from the more obvious ‘Hollywood’ sound, with some strident harmonies and tensely dramatic writing.
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This was composed just before Korngold returned to Austria from the US, during which time he had carved out a successful career in Hollywood, pretty much establishing the Hollywood movie soundworld of the time. The second half of the disc is given over to the Symphonische Serenade, op. It is given a richly sensitive reading here, with Wilson’s attention to dynamic contrasts providing shape to its overt romanticism. 8by Franz Schreker ( 1878-1934) is an interesting work, with an opening reminiscent of Schoenberg’s Verklärte Nacht (written at around the same time), but moments of sweet, pastoral string writing too, and perhaps less overall bite. The short Intermezzo for String Orchestra, Op. Yet despite the title, there is no metamorphosis into a positive new world – Strauss marks the end In Memoriam, and the subside into quiet darkness is achingly sad.
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In Strauss there are many climactic moments, and it can lose direction, but here there is a definite trajectory to the warmer major passionate centre, before the opening tragic lamenting material returns following a sudden violent stop. No detail is obscured, and Wilson steers the dynamic swells expertly too. The Sinfonia of London strings here produce a deeply resonant and rich sound, and Chandos deserve credit for achieving precision in the balance, especially when all 23 lines are active.
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Richard Strauss ( 1864-1949) composed his Metamorphosen, for 23 solo strings in 1945, and it is a heartfelt elegy and a musical realisation in many ways of the horrors that had been experienced in the preceding war. In 2018, conductor John Wilson relaunched the Sinfonia of London, a session orchestra with a long history, particularly in recording film music, and for their second recording with Chandos, they focus on German and Austrian composers, post World War II.