#Benjamin britten four sea interludes score chimes download
PLEASE NOTE: Your Digital Download will have a watermark at the bottom of each page that will include your name, purchase date and number of copies purchased. Once you download your digital sheet music, you can view and print it at home, school, or anywhere you want to make music, and you don’t have to be connected to the internet. Published by Hal Leonard - Digital (HX.308986).ĭigital Downloads are downloadable sheet music files that can be viewed directly on your computer, tablet or mobile device. Listen, and judge for yourself.Concert Band - Level 5 - Digital Download By Benjamin Britten. That is what a great performance is supposed to do, and these are, all three, great performances. Järvi’s performance certainly belongs in these upper echelons, offering plenty of special moments without ever violating Elgar’s clear intentions. There have been many superb performances of this piece: Boult and Barbirolli, of course, for the traditional English view, but also Monteux, Jochum (arguably the finest of all), Litton, Mackerras, and a handful of others. Indeed, some listeners might wish for a less stately approach, but with the organ beautifully integrated yet still ideally “present”, the overriding impression is of a triumphant apotheosis well-earned. Nimrod finds Järvi well-attuned to the need to create a real triple-forte climax without a trace of harshness from the brass. The more boisterous variations, particularly Troyte and G.R.S., erupt with phenomenal energy, but there’s no lack of delicacy in, say, the beautifully realized accompaniment to C.A.E., or the charming Dorabella. Within the context of basically swift tempos, Järvi offers a reading of high contrast. It will be interesting to see how those grey worthies react to this version, which is no less appealing and quite different. The label’s earlier release, featuring Zinman and Baltimore, surprisingly earned a rosette from that paragon of the English critical establishment, the Penguin Guide. Telarc has done itself proud with Elgar’s Enigma Variations. You will hear things in this performance that no one else realizes in quite the same way, and that makes listening a constant source of joy. “Moonlight” is the essence of cool stillness, and the final “Storm” erupts at an unusually measured tempo, the better to give the timpani and brass a chance to really articulate their ferocious rhythms. “Sunday Morning” features a daringly quick tempo, but the Cincinnati players rise effortlessly to the challenge. “Dawn” never drags but still preserves a certain dreaminess in its treatment of the brass chorales. The Four Sea Interludes, which Britten never actually recorded in their concert versions, also reveal a strong sense of the conductor’s individuality while being played as persuasively as anyone ever has. This permits the music to make its didactic points without a trace of pedantry, and the final fugue combines raw excitement with exceptional textural clarity to an amazing degree. Witness, for example, the atmospheric variations for horns, or harp, or the gutsy rhythms underpinning the violins.
Järvi insures that you hear the piece whole–but more to the point, and also like the composer, he does it by paying great attention not just to the timbre of the highlighted instrument but equally to Britten’s sensitive and imaginatively colored accompaniments. Often the work breaks up into individual bits, sounding too much as though the original narration is missing between the variations. It has similar energy and freshness, allied to similar continuity and flow.
Järvi without question offers the finest Young Person’s Guide since Britten’s own. So for the purposes of this review, I am limiting my comments to the standard stereo release. It’s remarkable what variable results SACD technology still produces, even in the hands of the most experienced labels. In regular and SACD stereo the engineering is indeed stellar, but the multichannel version is curiously low-level and diffuse. Good as the sound is, and despite Telarc’s reputation for same, this disc is not noteworthy primarily for its sonics. This is a spectacular recording, not just in the “blockbuster” sense of containing four big, splashy orchestral works, extremely well recorded, but also because Paavo Järvi brings a real point of view to music that many listeners (with good reason) assume has been done to death.
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