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Amazon.co.uk Review
Talk about a change of fortunes! Back in the late 1980s, Robin Holloway was seen very much as a reactionary composer, his nostalgic idiom fixated on an irretrievable--and probably non-existent--past. With the rise of the disposable in contemporary music, Holloway's historically-aware approach has taken on new relevance. And there's no better place to test this out than the Second Concerto for Orchestra (1979-82), a compendium of styles and quotations, combined with a real orchestral flair, that makes post-modernism into far more than just a stylistic get-out clause. Don't worry about why these references are there, or even what they are--its their role in directing the musical logic, in shaping the musical experience, that justifies their being there. Neither is this work the equivalent of a dry literary anthology: sampling the climactic build-up of the Adagio (track 2) should convince you that this is music of visceral impact. Committed playing under the authoritative baton of Oliver Knussen. Who says the past can't be remade into the present? --Richard Whitehouse
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2 of 2 people found the following review helpful
Format:Audio CD
TT 33:50, this is a short CD.
I concur entirely with the lead review. It doesn't matter anymore if a composition is tonally rooted and quotes works from the past. Holloway's Concerto for Orchestra No. 2, premiered in 1979, doesn't quote works from the past (although Holloway's trademark in other works has been precisely that), it has some tonal references and some short passages of neo-romanticism (not the most interesting moments), but more important it is a work of great evocative power, drama, tonal lushness and sonic imagination, at times closer to Ligeti and Lutoslawski than to, say, Barber or Britten.
I concur entirely with the lead review. It doesn't matter anymore if a composition is tonally rooted and quotes works from the past. Holloway's Concerto for Orchestra No. 2, premiered in 1979, doesn't quote works from the past (although Holloway's trademark in other works has been precisely that), it has some tonal references and some short passages of neo-romanticism (not the most interesting moments), but more important it is a work of great evocative power, drama, tonal lushness and sonic imagination, at times closer to Ligeti and Lutoslawski than to, say, Barber or Britten.
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