![]() Massenet, Jules: Orchestral Suite No 2, Hungarian Scenes (5) - New Zealand SO/Jean-Yves Ossonce (Naxos 8.553124) ![]() ![]() Saint-Saëns, Camille: Romance in Eb Op 67 - Steven Isserlis (cello), North German Radio SO/Christoph Eschenbach (RCA 09026 63518) ![]() Vaughan Williams, Ralph: Symphony No 5 in D (1) - London Phil/Adrian Boult (EMI CDM 7 64018)īoccherini, Luigi: Flute Quintet in G G438 - Jean-Pierre Rampal (fl), Régis Pasquier (vln), Bruno Pasquier (vla), Roland Pidoux, Mathilde Sternat (cellos) (SONY SK 62679) Gluck, Christoph Willibald von: Dance of the Blessed Spirits - Marie-Andree Benny (flute), Les Violons du Roy/Bernard Labadie (ATMA ACD22600) Schubert, Franz: Violin Sonatina in D D384 - Wilma Smith (vln), Michael Houstoun (pno) (RNZ UA64) Once again a final statement of the subject in the pedals gives the piece a satisfying sense of completeness.Humperdinck, Engelbert: Hansel & Gretel, Overture - ASMF/Neville Marriner (Philips 456 576) As with the ‘Little’ Fugue in G minor, the fugal working out is not particularly rigorous after the exposition, but there is a greater feeling of unity to the episodic material. There is considerable doubt as to how many of the great preludes and fugues, including many in The Well-tempered Clavier, were actually conceived as pairs, but there can be no doubting the feeling of unity between these two pieces given by the taking over of the upbeat quaver figure of the prelude by the fugue subject itself. But here there is a greater intensity and concentration to the rhetorical gestures, and the grinding off-beat chords of the second half of the prelude have a power not found in Bach’s models. The most succinct is the ‘Little’ Prelude and Fugue in E minor, BWV533, which has the characteristic manual flourishes, pedal solos and homophonic passages making much use of suspensions and other dissonances found in the works of Buxtehude and Lübeck. There is a substantial group of works which demonstrates different approaches to the North German Präludium. ![]()
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