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Lynn Arnold, Charles Matthews – A London Symphony (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:04:18 minutes | 973 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Albion
The heart of this album is Archibald Jacob’s 1924 arrangement of the 1920 version of Ralph Vaughan Williams’s A London Symphony. This is a work that uniquely conveys the atmosphere of a city now changed almost beyond resemblance; and yet the work, like all great music, is beyond both time and place. The piano duet recording reveals details that sometimes pass us by in the orchestral score.
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Lynn Arnold & Charles Matthews – Walton & Vaughan Williams: Piano Works (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:50 minutes | 945 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Albion
This recording couples world premiere piano duet versions of two important works by William Walton with the first recording of a ‘student’ piece by Ralph Vaughan Williams. Walton’s first Symphony was composed between 1931 and 1935. Crown Imperial was written as a march for the Coronation of King George VI and Queen Elizabeth (the late Queen Mother) in 1937.
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Charles Matthews, Julia Hwang – Subito (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:33 minutes | 1,03 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Signum Records
Subito: suddenly, or immediately. And something else besides – a moment of revelation or transformation, charged with surprise.
When Witold Lutoslawski gave this title to the showpiece that he wrote for a violin competition in Indianapolis in 1994, he evoked all these qualities, and more: that delighted astonishment; the brilliant, piercing moment of musical communion between performer and listener that comes with true virtuosity.
On her debut disc, Julia Hwang has taken that idea, of virtuosity as communication, and embraced it from four very different directions. Grieg’s Violin Sonata No. 3 blends virtuosity with traditions both local and international, to say something unambiguously personal. Vaughan Williams’ ‘The Lark Ascending’ refines violin technique into expression as pure as the song of a skylark. Lutoslawski’s ‘Subito’ creates a brief, dazzling moment whose very brilliance is its own meaning; and Henryk Wieniawski, entertainer par excellence, spins fantasy from another man’s tunes in his ‘Fantaisie brillante sur des motifs de l’Opéra Faust de Gounod’ – enriching them in the process.
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