Another triumphant success for director Joseph Swensen and the Scottish Chamber Orchestra. Under Swensen's powerful command the orchestra gives a fantastically spirited performance: a thoroughly appealing disc
This disc was nominated for the 1998 Grammy Awards for "Best Classical Album," "Best Engineered Album, Classical," and "Best Orchestral Performance."
This is not your father's Brahms, though it may be your great-grandfather's. The concept behind this cycle-with-a-difference is to emulate the kind of orchestra Brahms liked to use, specifically the Meiningen Court Orchestra, with which he worked extensively after 1880 and entrusted with several important premieres…
‘Schumann: The Symphonies’ sees Robin Ticciati and the Scottish Chamber Orchestra embark upon their first symphonic cycle together in a programme that they performed in concerts across Scotland. This is music that is very close to Robin Ticciati’s heart; he describes Schumann as one of his favourite composers and has often spoken about how important poetry, colour and story are to Schumann’s music.
This is music that is very close to Robin Ticciati's heart; he describes Schumann as one of his favourite composers and has often spoken about how important poetry, colour and story are to Schumann's music. Symphony No. 1 'Spring', blazes and sparkles with joy, Symphony No. 2 finds its way carefully through to the safe haven of its final movement, the much-loved Symphony No. 3 ‘Rhenish' moves with huge ease and assurance to a resonant and joyful conclusion. Symphony No. 4 is radical in the way each movement attacks the start of the next movement with barely a pause, and in its minute-and-a-half-long, shimmering and horn-call-filled transition to the finale. Under Ticciati and the SCO it is magnificent, the radical, soaring, disturbing and exhilarating symphony Schumann intended.
Robin Ticciati cements his reputation as an outstanding Berliozian with his latest recording, ‘Berlioz: Les nuits d’été’, which includes excerpts from Roméo & Juliette and La Mort de Cléopâtre. A pupil of Sir Simon Rattle and the great Berliozian Sir Colin Davis, Robin’s reputation as one of this generation's best conductors was assured when he was announced as the next music director of Glyndebourne, taking over from Vladimir Jurowski in 2014.
Sir Peter Maxwell Davies’ Strathclyde Concertos, all premièred by the Scottish Chamber Orchestra, are among his most significant contributions to the concerto genre. Concerto No 3 for Horn and Trumpet marks a turning point in the cycle of ten concertos by employing multiple soloists, and stands in the lineage of works by Haydn, Mozart and Bach’s Brandenburg Concertos. Concerto No 4 explores the clarinet’s lyrical Mozartian heritage, alongside subtle percussive effects and agile virtuosity.