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Then there's a brief break, and RF initiates [] a recap. This is a reworking of the opening measures, which dies away into a substantial pause followed by an RC-based coda []. A ternary, A-B-A andante for muted strings is next [T-6]. This starts with a haunting theme HT [] that's passed around, and brackets a winsome, sighing "B" section []. Then HT closes the movement mysteriously.

A closing allegro [T-7] opens with an innocent rising-falling idea [], which becomes increasingly agitated, finally giving way to an RC-like motif []. This ends the work in hushed ambivalence. Two years later Alwyn completed a single movement string quartet No. Lasting almost thirteen minutes, it's dedicated to his compatriot Alan Bush ; see 9 April , and gets off to quivering start.

Then there's a sweeping lyrical theme on the violin SL [], and an SL-related jagged motif SJ soon introduced below []. After that SL is forcefully restated [], and lurches into a developmental fantasy. Then an SJ outburst [] gives way to a weeping episode [], ending with a lachrymose cello []. Next there's a troubled, pizzicato -spiced segment [], and pensive passage []. The latter merges into melancholy memories of SL [] and SJ [] that conclude the piece in shimmering mystery. The next quartet No.

Not only that, Alwyn soon reworked the leading one into another piece scored for two horns, timpani and strings , which he called Tragic Interlude. All this makes one wonder if these may have originally been parts of a more extensive work he never finished. The opening "Adagio e largamente e marcato" "Slowly, dignified and marked" [T-9] is in four contiguous segments, and begins with a forceful four-note rising-falling riff FR []. This is soon followed by a descending four-note one DF [], which undergoes an insistent exploration, leading to a lyricized version of FR LR [].

It introduces an FR-permeated episode that becomes increasingly excited, and then slowly wanes, ending the first segment apathetically. After a brief pause, the next begins with a sighing, DF-associated idea [].

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This is contemplated, and a moment of silence is followed by a third [], which seems an afterthought. Then there's another short break, and LR announces a concluding segment [] that closes the movement despairingly. The final "Allegro molto e vivace" "Fast, lively and vivacious [T] is a scherzoesque creation with a pixilated opening section PO []. The Tippett Quartet, named after the great English composer Sir Michael Tippett , makes a welcome return to these pages see 17 August They give technically accomplished, enthusiastic accounts of some long-forgotten works, which are a significant contribution to the body of twentieth century chamber music.

Made last year at St. Nicholas Parish Church in Thames Ditton some 15 miles southwest of London, the recordings project a wide sonic image. The instruments are ideally placed, captured and balanced in warm spacious surroundings. The music sounds all the richer for it, giving us a demonstration quality disc of discovery that's a must for romantic chamber music fans. Charles would become a renowned virtuoso and the toast of Europe, finally settling in Brussels , where he established the Franco-Belgian school of violin playing.

His students would include the great violinist-composer Henri Vieuxtemps Naxos began surveying them some time ago, and have to date released the three albums pictured above, which give us all except the tenth. The two to the right appeared in the timeframe, and won't be discussed as they've already received glowing reports from several widely available sources.

The one to the left is the most recent, and also has a couple of occasional pieces for violin and orchestra. Conjointly these CDs represent the only currently available recordings on disc of the first, third, fifth, sixth and eighth concertos, as well as the two shorter works.

The concertos on the most recent album are at heart similarly conceived, triple movement structures despite their different markings. Written in , the fourth [T-1] is indicated as in a single movement [T-1], and begins with an orchestral preface having an initial somber theme [], bracketing a cheerful, related one CR []. Then after an anticipatory pause the soloist enters [] for a virtuosic exploration of both ideas. This bridges into a rhapsodic, developmental episode [] that could be considered an intermediate movement. It's followed by the reappearance of CR [], which introduces a fiddle fireworks finale [], ending the concerto triumphantly.

Then we get Charles' sixth and seventh ones completed sometime in Although each of these is in two sections separated by a short break, their overall layout is very similar to the one above, and both have equally fetching themes. The sixth begins with the orchestra playing an initially proud [] and then respectful [] binary idea PR that's picked up by the violin []. PR becomes the subject of a development, which bridges into a melancholy andante [], which is the equivalent of a middle movement.

This ends with a stratospheric note for the soloist that ushers in lively concluding rondo based on a jolly PR-related ditty [T-3]. It's full of violin pyrotechnics set to a skittering tutti accompaniment, and ends the work excitedly. Moving right along we get the seventh concerto that's structurally pretty much a carbon copy of the sixth. Dedicated to William III of the Netherlands , the initial allegro - andante [T-4] opens with an understandably regal subject [] and magnanimous countersubject [] played by the orchestra.

The first section of this two-part movement then becomes a developmental episode for soloist and tutti full of fancy fiddling. The second is a heartfelt lament [] that makes an expeditious transition into a third and final allegro [T-5], which is another rondo , but this time based on a bouncy RM-related tune [].

It concludes the concerto in spirited fashion with antsy, virtuosic displays for the soloist egged on by a frivolous tutti. He would pen some fifteen, the fourth of which, dating from the s, is next [T-6], Titled " Montagnard " "Mountain Man" , it would seem to portend Vincent d'Indy's Symphony on a French Mountain Air , and begins with a short martial, drumroll-spiced orchestral preface [], succeeded by a folk-ballad-like main subject FB []. Next there's a busy bridge [] into the first of six variations, the first four of which are sequentially amorous [], cocky [], pining [] and whimsical [].

After that the mood turns Latin with a variation of haughty Spanish temperament [], and one that could pass for a tarantella []. Then the piece closes decoratively with the soloist virtuosically embellishing a heroic, horn-enhanced reminder of FB []. Filling out this release we get what we're told is probably the composer's best known work, i.

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It starts with a commanding orchestral flourishes [] succeeded by the demure entrance of the soloist [], who launches into a lithe dance LD []. After that we get five more balletic episodes, the first of which is entreating []. Then the brass announce another of proud Iberian persuasion [] with castanet accents and a graceful midsection [].

Following a brief pause there's a winsome waltz [] succeeded by a hesitant passage [], leading to a coquettish number [], and the dramatic return of LD []. Then there's a skittish bridge [] into a frenetic final coda [] with bravura gilding by the soloist. This brings the work to a thrilling conclusion. The recordings on this most recent release were done last year at Suk Hall in Pardubice , Czech Republic, some sixty miles east of Prague. Those on the other discs were made in , and at sites in Bratislava, Slovak Republic, and Brussels, Belgium, respectively. Despite all these differing circumstances, the three albums project amazingly consistent, generally good sounding sonic images in warm accommodating venues.

As for the instrumental timbre, the highs are pleasant, if a tad tinkly, and the midrange pleasing. Beriot's conservative scoring precludes any heavy bass, but what's here is lean and clean with no low string hangover. In closing, all three soloists are technically accomplished virtuosos with superb tone, and this showy music would have probably come off as even more dazzling had they been a bit more highlighted. Draeseke: Qnt, Op.

Born in Coburg , Germany, Felix Draeseke ; see 15 April , studied at the Leipzig Conservatory, and after hearing an performance of Richard Wagner's Lohengrin , began composing in that vein.

Winsome Waltz

Back then he identified himself with the somewhat inchoate "Neudeutsche Schule" " New German School " , and his music would receive strong support from Franz Liszt But it was too far out for German audiences of the time, and Draeseke moved to Switzerland in , where he made a living as a piano teacher. Then in he returned to Germany, and would spend the rest of his life in Dresden, where he taught at the local conservatory. He'd also write a significant body of works that were mostly in the operatic or sacred vein, and far more conservative than his earlier efforts.

In that regard, the late s saw him grow increasingly critical of his younger, more adventurous compatriots such as Richard Strauss This negative attitude was exacerbated by a progressive hearing loss that started when he was in his teens, and would lead to his becoming totally deaf by the early s. During the first half of the twentieth century, his music found less and less favor with the public.

And in retrospect, this wasn't helped by the Nazis promoting it as "reine deutsche" "pure German"! However, disregarding any political associations, it's well written, and deserving of reappraisal. That's particularly true of the three chamber selections on this enterprising CPO release.

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Composed between and , these are the only recordings of them currently available on disc. As far as quintets go, Draeseke's Op. In four movements, the initial sonata-form-like allegro [T-6] begins with a four-note riff FR [], which introduces an angular theme AT [] reminiscent of Robert Schumann AT is then explored, and followed by a wistful countersubject WC []. The latter ushers in what amounts to an engaging, horn-embellished rhapsodic development [] that's followed by a recapitulation [] and final coda [].

Next, we get a contemplative andante [T-7] based on a devout idea DI heard at the outset [].

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A Winsome Waltz sheet music for piano four hands

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For other cases e. Please contact the seller directly from your Order details page , and provide the following information:. Mussorgsky was the wild man of the Mighty Handful. The correspondingly rough-hewn quality of his music was, in his day, considered a Bad Thing.