{"id":1718,"date":"2010-06-22T01:45:55","date_gmt":"2010-06-22T00:45:55","guid":{"rendered":"http:\/\/kennethwoods.net\/blog1\/?p=1718"},"modified":"2010-06-22T01:47:12","modified_gmt":"2010-06-22T00:47:12","slug":"cd-review-classical-source-on-gal-violin-concerti-and-triptych-for-orchestra","status":"publish","type":"post","link":"https:\/\/kennethwoods.net\/blog1\/2010\/06\/22\/cd-review-classical-source-on-gal-violin-concerti-and-triptych-for-orchestra\/","title":{"rendered":"CD Review- Classical Source on “Gal Violin Concerti and Triptych for Orchestra”"},"content":{"rendered":"

Colin Anderson writing in today’s Classical Source-<\/a><\/p>\n

….There is something deceptive about Hans G\u00e1l\u2019s music, the work of the long-lived (1890-1987), from Vienna to Edinburgh composer, whose output has been so well served by Avie. G\u00e1l\u2019s other violin concerto, from 1939, with string orchestra accompaniment, this time in two movements instead of three, the first elegiac and of endless melody suggestive of circumstance but not indulging it, and ultimately a pure musical statement, and a finale (linked to by a cadenza) that looks back to an earlier epoch and to the terpsichorean point of the Rigaudon that is here interspersed by poignant musings.<\/p>\n

Moving ahead to 1970, Hans G\u00e1l reached his \u2018opus 100\u2019 with Triptych, a set of three movements for orchestra, the opening \u2018Impromptu\u2019 energetically if severely introduced, every note significant, the contrasting mellower invention sometimes suggesting Richard Strauss\u2019s late-in-life autumnal music (specifically \u201cCapriccio\u201d), but with an independence of thought and a timelessness of invention that is at once Mozartean yet also crisply contemporary. The central \u2018Lament\u2019 is sparse if tellingly personal; and the final \u2018Comedy\u2019 is joyous and inviting, and not without a flourish or two.<\/p>\n

G\u00e1l\u2019s art has the enviable ability to say so much without being tempted to decorate, augment and make denser. Such transparent and highly-crafted scores are given superbly prepared performances here. I had a few reservations over Annette-Barbara Vogel\u2019s playing on the G\u00e1l violin-and-piano release, but her playing here is first-class, so too the quick-witted response of Northern Sinfonia under Kenneth Woods. Both the recording and the booklet\u2019s annotation are excellent.<\/p>\n

Read the whole thing here.<\/a><\/p>\n