Utwory na płycie:

• Enescu - Octet Op.7 * - Tres modere - Meme temps - Mouvement - Mouvement -
• Enescu - Octet Op.7 * - Tres fougueux - Moins vite -
• Enescu - Octet Op.7 * - Premier Mouvement - Tres anime - Moins vite - Anime -
• Enescu - Octet Op.7 * - Mouvement de Valse bien rythmee - Un peu lent -
• Ysaye - Harmonies du soir Op.31 * - Harmonies du soir Op.31 *
• Bacewicz - Concerto for String Orchestra * - Allegro - Listesso tempo
• Bacewicz - Concerto for String Orchestra * - Andante - [ ] - Tempo I
• Bacewicz - Concerto for String Orchestra * - Vivo - Meno - A tempo - Meno -

Grażyna Bacewicz:
Concerto for String Orchestra

Eugene Ysaye:
Harmonies du soir (Poeme No. 8), Op. 31

George Enescu:
String Octet in C major, Op. 7

For this their fourth album of music for string orchestra, John Wilson and Sinfonia of London present a programme of works by three composers from the Franco-Belgian school of string pedagogy, who were all themselves virtuosic string players. George Enescu studied in Paris and Vienna, spent much of his life in France, and was internationally lauded as a concert violinist and conductor in both Europe and America. Much of his music remained unknown after his death – a situation improved thanks to some high-profile champions of his work, not least his most famous pupil Yehudi Menuhin. When Enescu supplied a preface for a new edition of his Octet, in 1950, he sanctioned its performance by a full string orchestra, the form in which we hear it on this recording. Completed in 1924, Ysaye’s Harmonies du soir is scored for string quartet and string orchestra, enabling Ysaye to exploit the contrast between intimate and full string sound, a technique inspired by Vaughan Williams in his Fantasia on a Theme of Thomas Tallis. Affectionately known as the ‘First Lady of Polish Music’, Grażyna Bacewicz was an outstanding virtuoso violinist, a formidable pianist, and ground-breaking composer. A great deal of her output was written for strings, including the Concerto for String Orchestra, written in 1948. Often described as neoclassical, the work takes some inspiration from the baroque concerto grosso, but is distinctly modern in its harmonic language and was particularly admired by Lutosławski.