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Track Listings
| 1. Young Apollo, Op. 16: Moderato - Allegro molto |
| 2. Double Concerto In B Minor: I. Allegro ma non troppo |
| 3. Double Concerto In B Minor: II. Rhapsody. Poco lento |
| 4. Double Concerto In B Minor: III. Allegro scherzando - Allegro non troppo |
| 5. Two Portraits: No. 1 'David Layton' For String Orchetra - Poco presto |
| 6. Two Portraits: No. 2 'E.B.B.' For Solo Viola And String Orchestra - Poco lento |
| 7. Sinfonietta, Op. 1: I. Poco presto ed agitato |
| 8. Sinfonietta, Op. 1: II. Variations. Andante lento |
| 9. Sinfonietta, Op. 1: III. Tarantella. Presto vivace |
On this CD:
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Young Apollo
Composed by Benjamin Britten
Performed by Hallé Orchestra
with Nikolai Lugansky, Lyn Fletcher, Dara De Cogan, Tim Pooley, Peter Worrall
Conducted by Kent Nagano
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Double Concerto in B Minor in B Minor
Composed by Benjamin Britten
Performed by Hallé Orchestra
with Gidon Kremer, Yuri Bashmet
Conducted by Kent Nagano
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Two Portraits
Composed by Benjamin Britten
Performed by Hallé Orchestra
with Yuri Bashmet
Conducted by Kent Nagano
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Sinfonietta
Composed by Benjamin Britten
Performed by Hallé Orchestra
Conducted by Kent Nagano
Product Description
Amazon.co.uk Review
The young Benjamin Britten was profligate with scores--three of these pieces are unheard since his student days, yet hardly inferior to works of his maturity. The 1939 Young Apollo, his seven-minute fanfare for piano, string quartet and strings, is marginally the least obscure piece here: its inventive drive and vigour are clearly Britten and yet, like the other pieces here, in some sense the radical road not taken. The Double Concerto of 1932 for Violin and Viola announces itself with broody discords and moves rapidly into eloquent fiddling from the two soloists--Kremer and Bashmet respond well to this music and give it its full and considerable weight. The 1930 Portraits for string orchestra, the second featuring Bashmet again as soloist in a moody self-portrait, foreshadow much of what Britten was to do later with string orchestra. Nagano deserves congratulations for selecting this innovative programme and for the restraint needed in performing work so delicate and inventive; he finally breaks out into virtuosity in the finale of the small orchestra version of the Sinfonietta, making a case for its being quite as fine as the chamber version Britten acknowledged as his op.1. --Roz Kaveney
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