Nicholas Maw: Violin Concerto

Editorial Reviews
Amazon.com
Long before the so-called "New Tonalists" entered the marketplace, British-born composer Nicholas Maw made a break with the once-reigning orthodoxy of postwar serial composers. He forged his own brand of latter-day Romanticism, while still finding ways to incorporate aspects of atonality into a potent personal style. Since then Maw has remained an intrepid individualist, creating a body of carefully crafted, substantial, rapturously lyrical works--from the busy poetry of Ghost Dances to the much-anticipated opera-in-progress Sophie's Choice. The Violin Concerto is quintessential Maw: patient in its unfolding, masterfully proportioned, symphonic in scope. Even more typical is the way Maw recuperates idioms of the past--the grand Romantic violin concerto--with an extraordinary freshness and honesty of vision so often lacking among the now-trendy New Tonalists. Like his nearly-100-minute Brucknerian symphony Odyssey--Simon Rattle's fine recording of which is sadly out of print--the Concerto spins out long-limbed themes that mix memory and desire (with a knowing nod to Berg's own Violin Concerto). Maw wrote the piece for Joshua Bell, whose lush but disciplined tone and emotional weight indeed make perfect advocacy for this concerto. From his entrance in the prelude, Bell opens the curtain with a profoundly elegiac air that spills into a highly charged scherzo (despite being the longest movement, it never feels disproportionate) followed by a slow movement of floating beauty and finally reaching a musical delta that seems unstoppable in invention and showcases Maw's magical command in writing for large orchestra. Roger Norrington leads the London Philharmonic with breadth and deep focus. This is an important work and very highly recommended. --Thomas May

Tracks:

Concerto For Violin And Orchestra: I. Prelude: Moderato tranquillo - Andante moderato
Concerto For Violin And Orchestra: II. Scherzo: Vivace assai - Recitando
Concerto For Violin And Orchestra: III. Romanza: Lento e calmo
Concerto For Violin And Orchestra: IV. Finale: Allegro moderato e grazioso

Amazon.com

Long before the so-called "New Tonalists" entered the marketplace, British-born composer Nicholas Maw made a break with the once-reigning orthodoxy of postwar serial composers. He forged his own brand of latter-day Romanticism, while still finding ways to incorporate aspects of atonality into a potent personal style. Since then Maw has remained an intrepid individualist, creating a body of carefully crafted, substantial, rapturously lyrical works--from the busy poetry of Ghost Dances to the much-anticipated opera-in-progress Sophie's Choice. The Violin Concerto is quintessential Maw: patient in its unfolding, masterfully proportioned, symphonic in scope. Even more typical is the way Maw recuperates idioms of the past--the grand Romantic violin concerto--with an extraordinary freshness and honesty of vision so often lacking among the now-trendy New Tonalists. Like his nearly-100-minute Brucknerian symphony Odyssey--Simon Rattle's fine recording of which is sadly out of print--the Concerto spins out long-limbed themes that mix memory and desire (with a knowing nod to Berg's own Violin Concerto). Maw wrote the piece for Joshua Bell, whose lush but disciplined tone and emotional weight indeed make perfect advocacy for this concerto. From his entrance in the prelude, Bell opens the curtain with a profoundly elegiac air that spills into a highly charged scherzo (despite being the longest movement, it never feels disproportionate) followed by a slow movement of floating beauty and finally reaching a musical delta that seems unstoppable in invention and showcases Maw's magical command in writing for large orchestra. Roger Norrington leads the London Philharmonic with breadth and deep focus. This is an important work and very highly recommended. --Thomas May

Customer Reviews:

Don't think of it as "romantic".......2005-10-13

Too often, these reviews are no more than opinions. An opinion simply expresses what one either likes or dislikes; a review goes further in analyzing the inherent value of a piece, and whether the artist has succeeded in expressing his vision. In the area of classical music, frequently the piece itself is a platonic ideal, with the performance an expression of it. One would not review Beethoven's Fifth Symphony per se, but the value of a particular recording of it. With newer works, where only one recorded performance is available, one reviews the piece itself.

The negative reviews of this recording seem to be responding to the liner notes' comparison with Brahms and late-romantic music in general. My best suggestion to the listener would be to throw the liner notes away. Maw does embrace tonality, but this is hardly unusual nowadays and in fact became more prevalent as the last century drew to a close. However, expecting to find "hummable" melodies as in Brahms or Tchaikovsky would be a mistake. Like most modern composers, Maw owes more to Debussy in his reliance on atmosphere over conventional melody and "development," and approached in that manner, is wholly successful.

A modern concerto not to be missed!.......2004-01-21

I've recently bought this recording. The only clues as to what to expect from it came from a very enthusiastic recommendation from an old aquaintance and also from the usually dependable reviews from both the Gramophone and Penguin guides.

I was not at all familiar with Maw's work so I was completely unaware of what kind of music to expect from him. For some reason I was expecting something in the style of other contemporary british composers like Turnage or Adès, but I was surprised to have found quite a different sort of composer in Maw!

This concerto is certainly lyrical and in many ways quite romantic too, but it does sound undoubtedly contemporary! But being "contemporary" doesn't necessarily make this a difficult concerto to listen to, no way, as a matter of fact I found it quite friendly and easy to like.

Joshua Bell's playing is superb, he gets your attention and interest from the very opening and remains that way up until the last bars.

This is a contemporary concerto to cherish and enjoy! Give it a try!

Dont take the trouble to get this cd. Overhyped Stuff..........2003-12-05

The jacket says its a brahmsian concerto, a fantastic work of the 20th century. Thats not true. Most great music becomes memorable in few stray hearings. I have listened to it 3 times , yet I cant say I comprehend where the music is heading. I coudnt bring to my mind a single hummable, musical phrase to endear the work to me. This CD will gather dust. Instead spend this money on a burger or something, money better spent. May be Maw's "Odyssey" will be better..lets see

3 fine movements and a dud.......2002-03-29

The first three movements are well written and beautifully played - a true pleasure. The finale, however, tries too hard to be important. In truth, it is ill-formed and not even an excellent performance can save it.

Hey, it won a grammy ý that means it's good!.......2001-04-13

Yawn. However, I suppose it's life affirming.

Average customer rating:

Centenary Collection

Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B0000241DS
Release Date: 2000-10-10

Tracks:

Sun Dance ('Wand Of Youth' Ste No.1, Op.1a No.4) - RPO/Lawrance Collingwood
Marigold - Richard Rodney Bennett
Saint Nicolas: 2. The Birth Of Nicolas - Robert Tear/Bruce Russell/Andrew Davis/Ian Hare
Str Qt 'In Gloucestershire' (No.3): II. Fairly Quick, But Always Rhythmical - Britten Qt
Sym No.1 in A flat, Op.55: IV. Allegro Molto (Exc) - LPO/Sir Adrian Boult
Troilus And Cressida, Act II: From Isle to Isle Chill Waters (Exc) - Dame Elisabeth Schwarzkopf/Richard Lewis
Dance Scenes: IV. Molto Allegro (Conclusion) - Philharmonia Orch/Daniel Harding
Ave Maria Op.2 No.2 - Harry Bramma/Chr of Worcester Cathedral/Christopher Robinson
The Triumph Of Neptune (Ste): 7.Hornpipe - RLPO/Barry Wordsworth
Dies Natalis: 2. Rhapsody (Opening) - Wilfred Brown
Sym No.5 In D: III. Romanza (Excerpt) - Philharmonia Orch/Sir John Barbirolli
Blest Pair Of Sirens (Opening) - London Phil Chr
Checkmate (Ballet Ste): V. Ceremony Of The Red Bishops - Sinf Of London/Sir Arthur Bliss
Peter Grimes: Act II, Scene 2: In Dreams I've Built Myself Some Kindlier Home (Opening) - Sir Peter Pears
Vn Con: II. Slower (Exc) - Yehudi Menuhin
The Planets: 4. Jupiter (Exc) - Toronto SO/Andrew Davis
Loch Lomond - Ian Partridge
Canadian Carnival (Exc) - CBSO/Sir Simon Rattle
At The Boar's Head: We Two Saw You Four... (Opening) - Philip Langridge/Michael George/John Tomlinson
Divertimento On 'Sellinger's Round:' III. Presto - ASMF/Sir Neville Marriner
Greater Love Hath No Man (Conclusion) - Chr Of King's College, Cambridge/Stephen Cleobury
English Dance No.5, Op.33 No.1 - Philharmonia Orch/Robert Irving
On Wenlock Edge: 2. From Far, From Eve And Morning - Ian Partridge
Sinfonietta: I. Allegro Con Brio (Exc) - Northern Sinf Of England/Richard Hickox
Mater Ora Fillum (Opening) - Chr Of King's College, Cambridge/Stephen Cleobury
Violin Son: II. Vars (Var.6: Scherzando) - Yehudi Menuhin/Louis Kentner
Vc Con in D: II. Andante Espressivo (Opening) - Julian Lloyd Webber
Three Screaming Popes (Conclusion) - CBSO/Sir Simon Rattle
Con, Op.104: III. Allegro (Exc) - Phyllis Sellick/Cyril Smith
The Young Person's Guide To The Orch Op.34: Fugue (Allegro Molto) - CBSO/Sir Simon Rattle
Str Qt in e, Op.83: II. Piacevole (Conclusion) - Chilingirian Str Qt
The Lady's Birthday - Jennifer Partridge/Baccholian Singers Of London
Crown Imperial (Conclusion) - LPO/Sir Adrian Boult

Music Review:

Music Review

music review

Music Review

Delaware Crossing

Ryuichi Sakamoto Piano Works

PIAE CANTIONES / LATIN SONGS IN MEDIAEVAL FINLAND

J. Scott Homan [Explicit Lyrics]

Seduction of Claude Debussy [Import]

Scottish Harps [Import]

Riverdance: Music from the Show [Limited Edition] [Import]

Sentimental [Import]

Scarab Moon

On the Town [Cast Recording] [Original recording remastered]

Our Man in Paris [Original recording remastered] [Import]

Ramon Veloz & Guaracheros de Oriente

Pasion Y Cumbia

Milhaud: Cello Concerto No. 1; Hoddinott: Noctis Equi; Honegger: Cello Concerto

Deborah