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COMPOSERELGAR RESPIGHI DEBUSSY SIBE
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PERFORMERWaley-Cohen, Watkins
1917: Works For Violin & Piano
- Signum Classics
- April 29, 2014
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RELEASE DATEApril 29, 2014
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UPC635212037621
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CATALOG NUMBERSIGCD376
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LABELSignum Classics
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NUMBER OF DISCS2
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GENRE
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I. Allegro vivo
Composer: Claude Debussy
Performer: Tamsin Waley-Cohen, Huw Watkins
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II. Intermède: Fantasque et léger
Composer: Claude Debussy
Performer: Tamsin Waley-Cohen, Huw Watkins
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III. Finale: Très animé
Composer: Claude Debussy
Performer: Tamsin Waley-Cohen, Huw Watkins
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I. Moderato
Composer: Ottorino Respighi
Performer: Tamsin Waley-Cohen, Huw Watkins
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II. Andante espressivo
Composer: Ottorino Respighi
Performer: Tamsin Waley-Cohen, Huw Watkins
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III. Passacaglia: Allegro moderato ma energico
Composer: Ottorino Respighi
Performer: Tamsin Waley-Cohen, Huw Watkins
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No. 1. Mazurka
Composer: Jean Sibelius
Performer: Tamsin Waley-Cohen, Huw Watkins
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No. 2. Rondino
Composer: Jean Sibelius
Performer: Tamsin Waley-Cohen, Huw Watkins
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No. 3. Valse
Composer: Jean Sibelius
Performer: Tamsin Waley-Cohen, Huw Watkins
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No. 4. Aubade
Composer: Jean Sibelius
Performer: Tamsin Waley-Cohen, Huw Watkins
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No. 5. Menuetto
Composer: Jean Sibelius
Performer: Tamsin Waley-Cohen, Huw Watkins
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I. Allegro
Composer: Edward Elgar
Performer: Tamsin Waley-Cohen, Huw Watkins
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II. Romance: Andante
Composer: Edward Elgar
Performer: Tamsin Waley-Cohen, Huw Watkins
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III. Allegro non troppo
Composer: Edward Elgar
Performer: Tamsin Waley-Cohen, Huw Watkins
Featuring ⌄
Product Details ⌄
Works ⌄
Rising-star violinist Tamsin Waley-Cohen is joined by the eminent pianist-composer Huw Watkins in a diverse programme of works that were all influenced in different ways by the era in which they were composed. The works were conceived at four very different points in the composer's lives - Debussy, at the end of his life, Respighi in the first flush of fame, Elgar, although not old, enjoying his last creative period, and Sibelius in his prime composing prolifically. These four contrasting works were all composed as the Great War drew to a close, but none of them specifically attempts to conjure up images of the conflict, nor act as any kind of programmatic memorial to its victims. Rather, these works are all conceived as absolute music, albeit, in the case of the Elgar and Debussy sonatas, imbued with a melancholy regret that may have been a reflection of those tragic four years.
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