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Hindson - Violin Concerto, Corigliano - Red Violin (2007) [FLAC] {Lara St John}

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Hindson:
Violin Concerto; Corigliano: Suite From The Red Violin / St. John

Release Date: 04/08/2008 
Label:
Ancalagon Catalog #: 133 Spars Code: n/a 
Composer: Matthew Hindson, Franz Liszt, John Corigliano 
Performer:
Lara St. John 
Conductor: Sarah Ioannides 
Orchestra/Ensemble: Royal Philharmonic Orchestra 
Number of
Discs: 1 
Recorded in: Multi 
Length: 1 Hours 10 Mins. 

This title is currently unavailable.

HINDSON Violin Concerto. CORIGLIANO The Red Violin: Suite. LISZT (arr. Kennedy, St. John) Totentanz • Lara
St. John (vn); Sarah Ioannides, cond; Royal PO Read more ANCALAGON 133 (Hybrid multichannel SACD: 70:00) 

Matthew Hindson based his three-movement Violin Concerto (receiving here its first recording) on three Australian
scenes: the Wind Turbine at Kooragang Island, Westerway, and Grand Final Day. The first of these, he explains in his
notes (the composers or arrangers have all provided copy for Ancalagon’s sumptuous booklet), makes explicit use
of the turbine’s three blades as an organizing principle. The movement, pretty firmly tonal like the rest of the
Concerto, sounds occasionally cinematic in the manner of Korngold’s Concerto, but with groaning timbral effects
and whirlwind accelerandos. Lara St. John plays the swirling violin part with firm command of its virtuosity and
sympathy for its representational intent. The second movement (the longest of the three) constitutes a sort of tribute
to desolation and hope in Australia’s small towns; in comparison with the first movement, it sounds spare and
bleakly lyrical, with the violin part itself generally skittishly figural or declamatory rather than singing. The third
movement, graphically representing Australia’s annual sports festivities, returns jubilantly to the cinematic
style of the first movement. As a set of representations, with a hint of outright programmatic allusion in the outer
movements, Hindson’s ingratiating Concerto should provide enjoyable listening in St. John’s and
Ioannides’s boffo reading for those who respond to such concertos as Korngold’s or even
Castelnuovo-Tedesco’s Prophets. 

John Corigliano’s Suite from his score to the movie, The Red
Violin , hews closer to the original music for the movie than do the Chaconne and the Violin Concerto, based loosely on
the same materials (Corigliano himself discusses these relationships in his notes). Its opening recalls the scene in
Bussotti’s shop, with violins hanging in diffused light through which the lyrical theme (Anna’s) gradually
emerges. But here it’s played by the violin at once, telescoping the movie’s gradual shift in identity
from Bussotti’s wife to the violin. The solo part includes virtuosic passages in diminished-seventh chords, the
bread and butter of 19th-century passagework, and brooding cadenza-like ruminations that Corigliano featured in his
Caprices on the music. The solo part therefore offers possibilities for a more traditional kind of virtuosity than does
Hindson’s Concerto; and St. John takes as much advantage of these opportunities as does Ioannides in the
orchestral part, which exhibits the timbral ingenuity in writing for strings that elevates Vivaldi’s concertos
far above their harmonic and melodic materials. If St. John doesn’t produce from her 1779 Salabue Guadagnini as
pure and sweetly piercing a tone as does Joshua Bell in Corigliano’s works, she’s capable of generating
considerable idiomatic excitement. 


St. John mentions in the notes her regret that Franz Liszt
didn’t write anything for violin and orchestra; and like Nathan Milstein, who arranged the Mephisto Waltz for
unaccompanied violin, she’s done something about Liszt’s neglect. In this, she’s collaborated with
composer-pianist Martin Kennedy, who reworked the orchestral part. Their arrangement sounds almost terrifying, if not as
electrifying as Liszt’s original tub-thumper for piano and orchestra. 

In its stereo incarnation,
which I’ve reviewed, the recorded sound is well balanced and clear; given the orchestral sonorities in which all
three pieces have been couched, I’d suspect the surround version to be compelling. In either case, these three
compositions with strong extra-musical associations—Hindson’s hauntingly evocative triptych,
Corigliano’s equally atmospheric movie score in miniature, and Liszt’s theatrical horror show should
appeal broadly to general listeners—especially those with a sense of fun—as well as specifically to violin
aficionados, to investigators of Australian or film music, and to Lara St. John’s followers. Strongly
recommended. 
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