Two-part Invention 11 in G minor Two-part Invention 12 in A major Two-part Invention 13 in A minor Two-part Invention 14 in B flat major Two-part Invention 15 in B minor Sinfonia 1 in C major Sinfonia 2 in C minor Sinfonia 3 in D major Sinfonia 4 in D minor Sinfonia 5 in E flat major Sinfonia 6 in E major Sinfonia 7 in E minor Sinfonia 8 in F major Sinfonia 9 in F minor Sinfonia 10 in G major Sinfonia 11 in G minor Sinfonia 12 in A major Sinfonia 13 in A minor Sinfonia 14 in B flat major The French Collection.
Share this article Share. View the discussion thread. Free Newsletter. By clicking on the 'Sign Up! You can opt-out at any time. James MacMillan discusses his new oratorio. Navigate Left. Navigate Right. The Daily Eastern News. Search Submit Search. Activate Search. Scroll to Top. Discs feature Boult as accompanist in mainstream repertoire. Here, his all-round musicianship comes to the fore and his Germanic training with Arthur Nikisch is demonstrated. This performance - poor transfer and all - shows what a masterly player he was in his pomp.
Curiously the Menhuin website at lists this performance given on the 30 October as being of the 2 nd Concerto. In this instance Documents is right - it is No. As such, Boult is a careful accompanist - there is little more that he could do, but it remains a stunning performance. The coupling is Schumann 4. This is part of the complete cycle Boult recorded for Pye Nixa in Again it is a forthright unfussy performance with some muscular brass playing and little if any indulgence. That being said, there are no particular insights that mark it out for special attention in a crowded marketplace.
Disc 8 proves to be another gem - two late Mozart piano concertos with Annie Fischer dating from originally on Columbia. As before, I cannot compare transfers or mastering but suffice to say that the Documents disc is very acceptable - easily one of the best in this box. For no known possible reason a Chopin piano concerto sits alongside a brief piece of Sibelius incidental music.
The total running time struggles past 43 minutes. Rather by luck than any great strategic design both performances are valuable: once again because neither composer would otherwise feature prominently in a Boult discography; indeed this would appear to be the only time for both pieces. As far as I can tell the orchestral part has been rescored by the Russian composer - this would seem to be a rarity and as such worth consideration in a performance as sympathetic as this.
One imagines this is again due to the original Decca source - a performance I will be very happy to revisit. Again, this is a composer who features very little in the Boult discography - this performance being part of a two disc group of the popular tone poems recorded in Certainly this is an exciting and craggy near brusque interpretation - reading reviews of the other original couplings Boult would appear to have been a powerful interpreter - all the more surprising that so few of the major works appear at all in his discography.
Disc 10 completes the set and is another hidden gem. Busoni's incomplete opera Doktor Faust is a wonderful work. Boult collaborated with Dietrich Fischer-Dieskau to produce this 75 minute digest of the complete score. It was the first time I invited musicians from Africa to record with me. The result was magnificent; they showed a great respect for my music and arrangements.
In my concerts, I use their recorded voice and the audience likes them very much. We recorded the album in just one night in Paris. AAJ: You grandmother introduced you to your African ancestry and Yoruba culture, what does she think of your latest album? RF: She really likes it and is happy with the audience's approval. She always blesses me. When I play live I do a very respectful tribute to my roots. RF: I want the audience to understand that I have a great influence from Africa, but Yo is not an album of African music.
I did not record it for marketing purposes, to get big album sales. Its sound is unique. I want to be seen as an artist who likes to break down preconceptions and to explore new sounds. I like risks. What is your craziest or more incredible musical dream?
RF: My dream is to find something really crazy, like the smell of music. Something like a perfume. You have also played with acclaimed musicians like Herbie Hancock b. Ibrahim Ferrer.I walked across town to Atlas Records on S:t Eriksplan and picked up a selection of jazz releases from the 's and 90's First in the player is a compilation of "Soul, Funk & Jazz Covers of Quality and Distinction" Various - Version Excursion with covers of "Light My Fire" by Julie Driscoll and "Walk On By" by Isaac Hayes, among others.