formerly Endymion Ensemble, an English chamber music group dedicated to contemporary music
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- United Kingdom
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2024-03-29
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2023-11-10 00:00:00
Farquhar, Farr, Finzi, Imogen Holst, Lilburn, McCabe, Psathas, Rubbra & The King's Alchemist: British and New Zealand Chamber Music
[…] New ZealandRecording engineers: Nigel Scott and Michael Parsons; Producer: Wayne LairdEdmund Rubbra: Chamber Music:01 Piano Trio in one movement, op.68 [19'31]02 Meditazioni Sopra 'Cœurs Désolés' for oboe and piano, op.67 [5'21]03 Phantasy for two violins and piano, op.16 [11'27]04 - 06 Sonata in C for oboe and piano, op.100 [12'30]07 - 11 (arr. A Cruft): Suite 'The Buddha', op.64 [9'05]12 - 13 Piano Trio No. 2, op.138 [13'15]14 Duo for cor anglais and piano, op.156 [5'41]Endymion Ensemble (Krysia Osostowicz- violin, Catherine Manson- violin & viola, Jane Salmon- cello, Michael Dussek- piano, Melinda Maxwell- oboe, Helen Keen- flute)Dutton Epoch CDLX7106 [recorded April 2000; CD issued 2000][digital download; flacs, cover, booklet and inlay scans]Recording venue: All Saints Church, East Finchley, LondonRecording engineer: Tony Faulkner; Producer: Mike PurtonJohn Psathas - Fragments01 Fragment (percussion version - 2001) [2'58]02 Happy Tachyons for piano and percussion (1996) [7'39]03 - 05 Piano Quintet (2000) [18'32]06 Jettatura for […]
2021-10-16 11:19:24
Freedom and balance: I chat to composer Noah Max whose work is in the Clements Prize for Composers at Conway Hall
[…] from scratch. Music is his first language, he grew up with music and he enjoys the way composing moves from a solo activity, when writing the music, to being far more collaborative when it comes to working on the new work with performers. By contrast, his painting is a purely solo activity, no-one else is involved, and he sees it as an outlet for the immediate expulsion of emotions. Noah Max and Endymion at Wigmore Hall (Photo Quentin Poole, Dec 2019) Conducting also features his love of collaboration, but he also refers to it as an unusual job adding that he cannot understand why anyone would want to do it! And of course, there is also the philosophical question, what exactly does it mean to be a conductor? Yet, when there are sufficient musicians in a room it is evident that a conductor is needed. He […]
2021-02-14 00:37:00
NYTimes.com: 3 New Albums Retell the History of Black Composers: Recordings by the pianist Lara Downes, the Catalyst Quartet and the baritone Will Liverman
[…] new releases, ideal for spreading the word about overlooked composers of color, whose music often exists in varying states of disrepair. Recordings have helped propel the recent revivals of Julius Eastman and Florence Price, whose works are held up by scholars and critics today but languished for decades — neglected for a variety of reasons, including race. When a friend of mine, the musicologist Jacques Dupuis, programmed Samuel Coleridge-Taylor’s “Endymion’s Dream” a few years ago for the Boston ensemble Calliope, the only full score of it he could find was a rare holograph at the Library of Congress. So he traveled to Washington and spent dozens of hours transcribing it and creating a performing edition. A video of the resulting concert is the only available recording of the piece. “I’m not sure that would be sustainable as a regular practice […]
2019-12-15 15:54:15
Wigmore Hall, LondonThe Polish countertenor once more displayed the unearthly beauty and cool sensuality of his astonishing voice, accompanied by Il Pomo d’Oro Jakub Józef Orliński has caused something of a stir in the world of baroque music of late, and listening to his latest Wigmore recital with Il Pomo d’Oro, directed from the harpsichord by Francesco Corti, you understood why. The young Polish countertenor with a second career as a breakdancer (though he gave us none of the latter on this occasion) combines matinee idol looks with a voice of quite astonishing, almost unearthly beauty, coolly sensual in tone, evenly produced throughout a wide range, and supported by well-nigh exemplary technique. His programme, linked to his latest album, Facce d’Amore, consisted of 17th- and 18th-century arias, familiar or otherwise, about the nature of love and the vagaries of desire, opening with Endymion’s rapt contemplation of lunar Diana from Cavalli’s La […]
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