The orchestra seemed to finally find their footing and began to play with the gusto fitting for a finale. The third movement was the most satisfactory in terms of feeling and energy. It was, though, a somewhat shaky start, with the first movement not leaving the strongest impression. This notable musician performed with playful ease his tone was confident, and he was able to achieve a nice balance with the orchestra. The soloist for this Canadian première was Joaquin Valdepeñas. Perhaps this is why the piece appears to lack in cohesiveness, and unfolds in a rather constricted manner.
He drew on three unfinished pieces by the composer in order to make a kind of completion of a concerto whose first movement was sketched in 1942. But in 2007, this piece, entitled Movements for a Clarinet Concerto, was constructed by Colin Matthews, chair of the Britten Estate.
The event positioned two English pieces as a stark contrast to the Russian one in the second half.īenjamin Britten never completed his clarinet concerto. He has also concert-mastered many film scores – the most recent credit being for “The King’s Speech.” The Malmö Opera Orchestra and conductor Joseph Swensen join him for this recording.In the second week of their 2013/14 season, the Toronto Symphony Orchestra, under the direction of Peter Oundjian, presented three major works, beginning with two which were definitely not the same-old, same-old repertoire. Making his debut recording as a soloist on Signum, Thomas Bowes has built a firm reputation as an orchestral leader, soloist and chamber musician.
The piece has endured as one of his most popular works, and is contrasted here by Barber’s Violin Concerto and famous Adagio for Strings. Walton’s Violin Concerto was composed during a stay at the stunning Villa Cimbrone on Italy’s Amalfi coast, and reflects this environment in different ways – some more apparent than others (the 2nd movement is based on a ‘tarantella’, after Walton suffered a tarantula bite whilst there).
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