{"id":1960,"date":"2010-10-18T14:56:42","date_gmt":"2010-10-18T13:56:42","guid":{"rendered":"http:\/\/kennethwoods.net\/blog1\/?p=1960"},"modified":"2010-10-20T00:01:43","modified_gmt":"2010-10-19T23:01:43","slug":"cd-review-fanfare-magazine-on-gal-triptych-violin-concerto-and-conertino","status":"publish","type":"post","link":"https:\/\/kennethwoods.net\/blog1\/2010\/10\/18\/cd-review-fanfare-magazine-on-gal-triptych-violin-concerto-and-conertino\/","title":{"rendered":"CD Review- Fanfare Magazine on Gal Triptych, Violin Concerto and Conertino"},"content":{"rendered":"

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<\/a>From the November\/December 2010 issue of Fanfare Magazine- entire article available for Fanfare subcribers.<\/a> Excerpt below:<\/p>\n

CD Review\u00a0by\u00a0Barry Brenesal<\/a><\/h2>\n

<\/a> G\u00c1L <\/strong>Violin Concerto. <\/strong>Triptych. Concertino for Violin and String Orchestra <\/em><\/strong>\u2022 <\/strong>Kenneth Woods, cond; Annette-Barbara Vogel (vn); Northern Sinf\u00a0\u2022 <\/strong>AVIE 2146 (70:14)<\/p>\n

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….\u00a0You\u2019ll find no answers on this CD, but you will find some excellent music.<\/p>\n

The aforementioned\u00a0Triptych<\/em> consists of three movements: Impromptu, Lament, and Comedy. There\u2019s a sinfonia concertante feel to its regular placement of full orchestra next to a series of solos, mostly by winds, such as the moody clarinet solo that launches the Lament. But even that Lament really cannot break through the composer\u2019s smiling poise, and the movement is really a tranquil reflection, with an occasionally disturbed surface. As ever with this composer, we are treated to impeccable craft, and discreet counterpoint…<\/p>\n

The Violin Concerto dates back to 1932. The composer\u2019s writing for violin is ecstatically lyrical as well as idiomatic, and there are memorable episodes throughout\u2026<\/p>\n

Far better is the gem of the album, the Concertino of 1939, compounded of equal parts rhapsody and sunny serenity. Its two movements\u2014an Andante tranquillo that functions as an expansive opening, and a Rigaudon, marked\u00a0allegro giusto<\/em>, that provides a scintillating finale\u2014are a perfectly balanced pair of chamber mates. The composer states his material and begins its development at once, with a clarity that had become characteristic of his work by this time. There is …. a shimmering surface that reveals upon rehearing a myriad of attractive, subtle details.<\/p>\n

The performances are reasonably paced… Kenneth Woods phrases with distinction, and aims for clarity in G\u00e1l\u2019s contrapuntal textures. As for Annette-Barbara Vogel, she possesses an excellent technique, plus the kind of open-hearted warmth this soaring music requires to make its case. With good sound and attractive liner notes, fans of the composer will be pleased with this album\u2019s purchase; I really don\u2019t think we\u2019ve heard the last of the Concertino on records, either.\u00a0Barry Brenesal<\/p>\n

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Now available from\u00a0Amazon.com<\/a> or\u00a0Amazon.co.uk<\/a>, MDT<\/a> or ArchivMusik<\/a><\/p>\n