Skip to main content

Concerto for Oboe and Orchestra

I went through a phase, about eight years ago, when I downloaded (via less than fully legal means) a great quantity of classical music: so much of it, that I spent a full year just listening to it all, at the rate of an hour or two a day. One of the composers whose work caught my ear during that time was Bohislav Martinů, with pieces like his Nonets and the wonderful 'Fantasia for Theremin, Oboe, String Quartet and Piano' standing out in particular.

Afterwards, trying to do the right thing, I began buying some of his music on CD, and, on a few occasions, was lucky enough to turn up an old LP of his work at a charity shop. The present disc, combining Martinů's 'Concerto for Oboe and Small Orchestra' with Richard Strauss's Oboe Concerto, I found at the Oxfam Books & Music shop in Cardiff. In Discogs I have my copy listed  as from the original 1963 pressing, but it could well be a later re-issue. The soloist is František Hanták, accompanied by the Brno State Philharmonic Orchestra conducted by Martin Turnovský (for the Martinů) and Jaroslav Vogel (for the Strauss).

I seldom play the Strauss piece, but much enjoy Martinů's, which is bright, breezy & agreeably concise, running to about sixteen minutes. "The score reveals the influence of Igor Stravinsky, including a quotation of a motif from Petrushka in the second movement" says Wikipedia. Unusually, the orchestral line-up for the Concerto includes a piano - it seems that most of my favourite Martinů pieces feature piano: the Violin Sonata No. 3; the Piano Trios; the Piano Quartet & Quintets; Les Rondes; the abovementioned Fantasia and the Nonet No. 1, etc.

Comments

Popular posts from this blog

All Wrapped Up

Here's another of the compilation cassettes I bought this summer, having taken home a Denon twin-deck hi-fi cassette player from the local charity shop. All Wrapped Up is a 1983 compilation of singles by The Undertones, with Side One filled with A-sides, and B-sides on Side Two. A cassette must be the least desirable medium for such an arrangement, with a long rewind required if one just wants to hear the hits repeatedly. The Undertones were unapologetically provincial and anti-fashionable, with their songs sharply-written slices of life that pointedly avoided any mention of politics, or of the then-continuing violence in their native Derry. My favourite tracks are the obvious choices: 'Teenage Kicks', 'Jimmy Jimmy', 'Here Comes the Summer', 'My Perfect Cousin' & 'Wednesday Week'. Their later singles showed increased sophistication but lack the some of the straightforward charm of their earlier work. The B-sides, not unexpectedly, are mo...

In Heat

Having acquired the soubriquet "the walrus of love", Barry White thereafter became something of a figure of fun, something that misled me (and presumably others) into disregarding his music. Only within the last few years have I begun to pay it more attention. After picking up a copy of his '74 album Can't Get Enough last summer, which I loved, I sought out some of the music by his protegés Love Unlimited. From a Discogs seller I ordered well-used copies of Under the Influence of... ('73) and In Heat ('74) for only £6.25. The only unappealing thing about In Heat is its awful title. The songs and the singing are strong; the arrangements rich & warmly enveloping. As one would expect from White, the thematic focus is firmly fixed on amatory matters. The opening number 'Move Me No Mountain' (the only one on the record not written by White) offers a refreshing rebuttal to the kind of lyrical hyperbole in songs like 'Ain't No Mountain High E...

Bananas Are Not Created Equal

I knew Jay Berliner's name from his contributions to Van Morrison's Astral Weeks and Charles Mingus' The Black Saint and the Sinner Lady , so when I saw this curiously-titled LP at the local charity shop I was intrigued, and bought it even though I had no idea what kind of music it might contain. This was after the days when one could still buy records there for a pound apiece, but I don't think I paid more than a fiver for it. The music turned out to be an all-instrumental blend of funk, soul & jazz. Berliner's virtuoso lead guitar is only one of many attractions here. The band of first-rate session musicians behind him are all uniformly excellent too, and, crucially, sound like they're having a blast. Cornell Dupree's supporting guitar work, while less showy than Berliner's, is beautifully-judged, and the rhythm section is terrific. Arranger/conductor Wade Marcus was no slouch either, judging from the way everything comes together. Two of the funk...