Emma Johnson & John Lenehen - Brave New World (2014)
BAND/ARTIST: Emma Johnson, John Lenehen
- Title: Brave New World
- Year Of Release: 2014
- Label: Champs Hill Records
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:18:42
- Total Size: 293 mb
- WebSite: Album Preview
Tracklist
01. Sonata for Flute and Piano, Op. 94: I. Andantino (arr. Emma Johnson)
02. Sonata for Flute and Piano, Op. 94: II. Allegretto scherzando (arr. Emma Johnson)
03. Sonata for Flute and Piano, Op. 94: III. Andante (arr. Emma Johnson)
04. Sonata for Flute and Piano, Op. 94: IV. Allegro con brio (arr. Emma Johnson)
05. Sonata for Clarinet and Piano: I. Massig Bewegt
06. Sonata for Clarinet and Piano: II. Lebhaft
07. Sonata for Clarinet and Piano: III. Sehr Langsam
08. Sonata for Clarinet and Piano: IV. Kleines Rondo, gemachlich
09. Sonata in Re: I. Allegretto scorrevole
10. Sonata in Re: II. Andante
11. Sonata in Re: III. Allegro scorrevole
12. Dance Preludes: I. Allegro molto
13. Dance Preludes: II. Andantino
14. Dance Preludes: III. Allegro giocoso
15. Dance Preludes: IV. Andante
16. Dance Preludes: V. Allegro molto
17. Abîme des Oiseaux
18. Vocalise–Etude
The Brave New World referred to in the title of this release by British clarinetist Emma Johnson is that of the end of the Second World War and the period after. These are quiet chamber pieces, lyrical in nature, yet Johnson is correct, writing in a personal note that nicely supplants the drier formal analysis in the booklet, in her assertion that the war touched all of these pieces except for the placid Sonata in Re by Nino Rota, composed among the ruins in 1945. In a way, even that work seems to belong with the theme; it anticipates the great success Rota would have as a film score composer. The rest of the works demonstrate in quite a moving way the attempts of composers to keep going with what they were doing as storms gathered and then broke across their world, and the mixture of lightness and fear is compelling throughout. The music does not reflect the full force of the war in the way that of Shostakovich does, but the military tones that break into the Clarinet Sonata of Hindemith, composed in 1939, disturb the composer's usual technician's mood. The transcription of the Prokofiev Flute Sonata, Op. 94, is Johnson's own, and it expands the sparse modern repertory for clarinet. The Dance Preludes of Lutoslawski, neo-classic works, are like most of the rest of the music, little known, and they reflect the young Polish modernist's restlessness as well as the experience of war. In this context, the wartime pieces of Messiaen take on a different flavor from the usual, and the entire program is quite an uncanny experience.
01. Sonata for Flute and Piano, Op. 94: I. Andantino (arr. Emma Johnson)
02. Sonata for Flute and Piano, Op. 94: II. Allegretto scherzando (arr. Emma Johnson)
03. Sonata for Flute and Piano, Op. 94: III. Andante (arr. Emma Johnson)
04. Sonata for Flute and Piano, Op. 94: IV. Allegro con brio (arr. Emma Johnson)
05. Sonata for Clarinet and Piano: I. Massig Bewegt
06. Sonata for Clarinet and Piano: II. Lebhaft
07. Sonata for Clarinet and Piano: III. Sehr Langsam
08. Sonata for Clarinet and Piano: IV. Kleines Rondo, gemachlich
09. Sonata in Re: I. Allegretto scorrevole
10. Sonata in Re: II. Andante
11. Sonata in Re: III. Allegro scorrevole
12. Dance Preludes: I. Allegro molto
13. Dance Preludes: II. Andantino
14. Dance Preludes: III. Allegro giocoso
15. Dance Preludes: IV. Andante
16. Dance Preludes: V. Allegro molto
17. Abîme des Oiseaux
18. Vocalise–Etude
The Brave New World referred to in the title of this release by British clarinetist Emma Johnson is that of the end of the Second World War and the period after. These are quiet chamber pieces, lyrical in nature, yet Johnson is correct, writing in a personal note that nicely supplants the drier formal analysis in the booklet, in her assertion that the war touched all of these pieces except for the placid Sonata in Re by Nino Rota, composed among the ruins in 1945. In a way, even that work seems to belong with the theme; it anticipates the great success Rota would have as a film score composer. The rest of the works demonstrate in quite a moving way the attempts of composers to keep going with what they were doing as storms gathered and then broke across their world, and the mixture of lightness and fear is compelling throughout. The music does not reflect the full force of the war in the way that of Shostakovich does, but the military tones that break into the Clarinet Sonata of Hindemith, composed in 1939, disturb the composer's usual technician's mood. The transcription of the Prokofiev Flute Sonata, Op. 94, is Johnson's own, and it expands the sparse modern repertory for clarinet. The Dance Preludes of Lutoslawski, neo-classic works, are like most of the rest of the music, little known, and they reflect the young Polish modernist's restlessness as well as the experience of war. In this context, the wartime pieces of Messiaen take on a different flavor from the usual, and the entire program is quite an uncanny experience.
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