Luxembourg Radio Symphony | Britten/Martinu: Ballad / Concerto / Fantasie

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Britten/Martinu: Ballad / Concerto / Fantasie

by Luxembourg Radio Symphony

This delightful mix of Britten's "Scottish Ballad" and Martinu's "oncerto for Two Pianos and Orchestra" features two famed concert pianists: Joshua Pierce and Dorothy Jonas. Bravi.
Genre: Classical: Contemporary
Release Date: 

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  Song Share Time Download
1. Benjamin Britten: Scottish Ballad
13:06 album only
2. Bohuslav Martinu: Concerto for Two Pianos and Orchestra / Allegr
6:13 album only
3. Adagio
9:59 album only
4. Allegro
6:27 album only
5. Fantasie for Two Pianos:
6:53 album only
6. Three Czech Dances / Dance Number One
3:28 album only
7. Dance Number Two
4:54 album only
8. Dance Number Three
4:56 album only


Album Notes
Benjamin Britten
Scottish Ballad

Bohuslav Martinu Concerto for Two Pianos and Orchestra
Fantasie for Two Pianos
Three Czech Dances

Luxembourg Radio Symphony
Ettore Stratta, conductor

Martinu: Concerto for Two Pianos and Orchestra
Joshua Pierce and Dorothy Jonas, duo pianos

Martinu:Fantasie for Two Pianos
Joshua Pierce and Dorothy Jonas, duo pianos

Martinu: Three Czech Dances

The "Scottish Ballad" is one of Britten's early works, preceding the lone "Concerto for Piano and Orchestra" by about four years. Written in 1941 while the young composer was staying in Califronia, it received its premiere performance on November 28 in Cincinnati. For several years the work was included in the repertoire of Clifford Curzon and Britten when performing as a duo-pianist team. Featuring brilliantly written solo parts, the "Ballad" is in one movement, divided into three smaller sections. A whipcracking version of the Highland reel in which the pianos and orchestra try to outdo and outfun each other in virtuosity concludes the work.

Inspired by the talents and influence of the acclaimed pianists Pierre Luboschutz and Genia Nemenoff, the "Two-Piano Concerto", composed in New York in 1943, is fiendishly difficult, inflected with a kind of cataclysmic glee. The rapid toccata-like fire of the first and third movements contrasts with the power-in-repose mesmerism of the second.



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