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From Leipzig to London - Duo Sonatas from the 18th and 20th Centuries

 
From Leipzig to London - Duo Sonatas from the 18th and 20th Centuries-Oboe
ID: CC2013 (EAN: 5023581201326)  | 1 CD | DDD
Released in: 2005
LABEL:
Oboe Classics
Subcollection:
Oboe
Composers:
BACH, Johann Sebastian | DODGSON, Stephen | HEAD, Michael | JACOB, Gordon | MACONCHY, Elizabeth
Interprets:
IFEKA, Althea [Althea Talbot-Howard] (oboe / / ) | MAY, Katharine (harpsichord)
Other info:

The 24-page CD booklet has a 3,000 word programme note in English and German, detailing the origins of both the Bach and the 20th Century works, with a description of the performers, and many photographs.


The oboe played an important role in eighteenth-century musical society, with composers such as Handel, Vivaldi and Telemann making wide use of it as a solo, chamber and orchestral instrument. A favourite with J.S. Bach, the oboe and its family featured significantly in the composer's life in Leipzig where many of his large scale choral works were produced.

During the nineteenth century, the instrument was almost entirely relegated to the orchestra; only a handful of composers regarded it as a suitable solo instrument. However it was revived in the twentieth century by pioneers such as Léon Goossens and Janet Craxton studying, performing and teaching in London. Other players helping to reaffirm the musical capabilities of the oboe as a solo instrument included Evelyn Rothwell (Lady Barbirolli), who with her duo partner Valda Aveling (harpsichord) realized the potential of combining these two instruments. They encouraged some of England's most respected composers to use the harpsichord in duo sonata form for the first time since the eighteenth century, and this CD presents four pieces which were written for them in 1963 and 1972. Copyright Althea Ifeka and Katharine May 2005

As of 2008, Althea Ifeka is changing her name to Althea Talbot-Howard.

Althea Ifeka and Katharine May began their association in 1994 as scholars on the Countess of Munster Musical Trust Recital Scheme, and have given numerous recitals at music clubs, festivals and universities throughout the United Kingdom. In 1996 they broadcast for both Classic FM and RTE Ireland, and also undertook a concert tour of Eire, co-sponsored by the British Council. This is their first CD.
Tracklist
 
JACOB, Gordon (1895-1984) 
Sonatina (1963) (oboe & harpsichord) 
1. Adagio2:21 
2. Allegro giocoso1:48 
3. Lento alla Sarabanda2:33 
4. Allegro vivace2:48 
BACH, Johann Sebastian (1685-1750) 
Sonata in D, BWV 1028 (oboe d'amore & harpsichord) 
5. without indication1:40 
6. without indication3:56 
7. Andante4:23 
8. Allegro4:35 
DODGSON, Stephen (b. 1924) 
Suite in D (1972) (oboe & harpsichord) 
9. Prelude2:10 
10. Ground1:13 
11. Canzonet3:12 
12. Dance2:06 
BACH, Johann Sebastian (1685-1750) 
Sonata in G, BWV 1027 (cor anglais & harpsichord) 
13. Adagio3:31 
14. Allegro ma non tanto3:50 
15. Andante2:27 
16. Allegro moderato3:23 
MACONCHY, Elizabeth (1907-1994) 
Three Bagatelles (1972) (oboe & harpsichord) 
17. Allegro2:00 
18. Poco lento, tempo libero3:26 
19. Vivo3:03 
BACH, Johann Sebastian (1685-1750) 
Sonata in G minor, BWV 1020 (oboe & harpsichord) 
20. (Allegro)4:02 
21. Adagio2:32 
22. Allegro2:45 
HEAD, Michael (1900-1976) 
Siciliana (1972) (oboe & harpsichord) 
23. Molto moderato, grazioso5:50 

Review:
 

"A cleverly designed programme... Althea Ifeka is a superb oboist with a slightly plangent tone that fits well with the harpsichord, as the engaging Gordon Jacob Sonatina shows with its variety of invention, splicing melancholy, wit and geniality... Most stimulating."
Ivan March, Gramophone

"The documentation for this CD is seriously impressive. So many recording companies supply minimalist background for their products. However, Oboe Classics provides what in my opinion are near perfect programme notes. This is a 24-page booklet that includes an impressive 3500 word essay - given in English and in German. These notes are written by the performers and are erudite, entertaining and useful. The quality of the sound is perfect for this kind of music. I could just shut my eyes and imagine that this was being presented ‘live’ in my music room.
John France, MusicWeb International.


 

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