May 14, 1989 |
PONCE: "CONCIERTO DEL SUR." VILLA-LOBOS: GUITAR CONCERTO. LAMARQUE-PONS: "CONCERTINO DE INVIERNO." Eduardo Fernandez, guitar, Enrique Garcia Asensio conducting the English Chamber Orchestra. London 421 108-2 (compact disc). Fernandez's playing of the Ponce and Villa-Lobos concertos is clean, slightly cool and interpretively unremarkable. The brief, piquant, percussion-rich 1976 Concertino by Jaures Lamarque-Pons is an attractive and sophisticated addition to the repertory, however, and suavely delivered by Fernandez and Co.
August 3, 1990 |
A Royal Song: Prince Charles gave the Queen Mother a special 90th birthday present Thursday--a concert of specially commissioned music. The concert by the English Chamber Orchestra, and a recording to be released by EMI, will benefit Charles' charity, the Prince's Trust, which helps disadvantaged young people. Charles commissioned one of the works by composer Patrick Doyle especially for his grandmother.
March 9, 1988 |
After making New York City--and the Metropolitan Opera--his headquarters for most of the last decade, British conductor Jeffrey Tate last year moved back to London to assume his job with English Chamber Orchestra and a similar post, also principal conductor, with the Royal Opera, Covent Garden. "It has been good to get back home," the 44-year-old former opera coach said recently in a telephone interview from a Richmond, Va., tour stop.
December 10, 1989 |
It has become a tradition for this column, at this time of year, to recommend some new recording of Handel's "Messiah" to avoid. 1989's Caveat of the Year goes to the version by London's excellent Taverner Choir and period-instrument Taverner Players under the direction of their founder, Andrew Parrott. Among the soloists are such stylistic paragons as soprano Emma Kirkby, countertenor James Bowman and bass David Thomas (EMI Angel 49802, two CDs).
April 27, 1986 |
The year of 1985 may have been dedicated to celebrat ing the 300th birthdays of Bach and Handel, yet during that year, neither composer approached Mozart in the number of recordings issued bearing their names. It was not that Mozart's 229th birthday held any special significance; rather, that he evidently remains the favorite of recording companies (particularly the smaller ones)--in spite of being consistently outsold by Beethoven and Brahms, an inexplicable contradiction of business logic.