ClassicsOnline Home » HOLST, G.: Symphony, "The Cotswolds" / Walt Whitman, Overture / Indra / Japanese Suite / A Winter Idyll (Ulster Orchestra, Falletta) > Review List



HOLST, G.: Symphony, "The Cotswolds" / Walt Whitman, Overture / Indra / Japanese Suite / A Winter Idyll (Ulster Orchestra, Falletta)

Composer(s):Holst, Gustav
Artist(s) Falletta, JoAnn, Conductor • Ulster Orchestra
Period(s) 20th Century
Genre Classical Music
Category Orchestral
Catalogue 8.572914
Label Naxos
Quality   320kbps
 
 
Download and Stream
8.572914
 


Gustav Holst’s youthful enthusiasm for Wagner is reflected in his ebullient Walt Whitman overture written in 1899. Shortly afterwards he composed the Cotswolds Symphony which embraces hints of contemporary British folk music but is dominated by the slow movement, a profound elegy for the utopian socialist William Morris. Though completed at college, A Winter Idyll shows real orchestral assurance. Indra is an accomplished tone poem revealing Holst’s interest in the legends of India, whilst the glittering and evocative Japanese Suite was written in response to a request from a Japanese dancer appearing in London.


   




Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Barry Brenesal ,Fanfare,November 2012

The tone poem A Winter Idyll was composed in 1897. It establishes a mood similar to the first movement of Tchaikovsky’s First (“Winter Dreams”) Symphony, only to quickly vitiate its effect by a second subject group that could just as easily be called Spring’s Arrived. The style of the piece mixes Brahms and Wagner, with an almost classical clarity, balancing of content, and effective use of three-part texture…

more....


Review By Terry Blain,Culture Northern Ireland,June 2012

It’s been five years since the Ulster Orchestra released a CD, this stirring, bouyant recording was worth the wait

…this album paints a picture of an orchestra in robustly healthy and responsive fettle. It’s early days yet in the Falletta era, but the signs are that her crisp, incisive baton technique, and deft balancing of complicated orchestral textures, are already tangibly sharpening the aural impression the Ulster Orchestra makes collectively in performance.

more....


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