Title from disc label. Colin Currie, percussion (1st work) ; Chloë Hanslip, violin (3rd work) ; Hallé ; Nicholas Collon conductor. 1st-2nd works recorded 2014 July 29 Hallé St Peter's, Ancoats, Manchester. 3rd work recorded 2015 November 9 Hallé St Peter's, Ancoats, Manchester. Booklet with biographical and program notes in English (15 pages) inserted in container. Durations: 27:45; 5:56; 23:22.
Contents:
This fourth, full-length album of music by multi award-winning composer Simon Holt on NMC showcases his highly narrative orchestral compositions. His violin concerto "Witness to a Snow Miracle" -- here performed by the prodigiously taltned Chloe Hanslip -- depicts the story of the life, and particularly gruesome death, of St. Eulalia of Merida. From the initial, frenzied cadenza in the solo violin we get a sense of the torment and horror the saint suffered at the hands of the Romans: her flesh torn with hooks, flames applied to the wounds, and her body buried in hot coals. A blanket of snow fell on her ashes, at which point she was declared a saint. Holt's other award-winning concerto on this album is a much more upbeat and quirky affair. Written for and performed on this recording by one fo the world's finest percussionists, Collin Currie, "A Table of Noises" introduces us to Holt's taxidermist great uncle Ashworth, a kind of maverick scientist-cum-collector. Currie says "this percussion concerto exuberantly tears up the manual on how to approach the medium and I am thrilled with the idiosyncratic, adventure results". The soloist is seated on a cajon, and apart from the xylophone and glockenspiel, all the other instruments are laid out on a table in front of the osloist, hence the title. Each brief movement has a descriptive title and is linked by five "ghost" orchestral interludes.
Summary:
This fourth, full-length album of music by multi award-winning composer Simon Holt on NMC showcases his highly narrative orchestral compositions. His violin concerto "Witness to a Snow Miracle" -- here performed by the prodigiously talented Chloe Hanslip -- depicts the story of the life, and particularly gruesome death, of St. Eulalia of Merida. From the initial, frenzied cadenza in the solo violin we get a sense of the torment and horror the saint suffered at the hands of the Romans: her flesh torn with hooks, flames applied to the wounds, and her body buried in hot coals. A blanket of snow fell on her ashes, at which point she was declared a saint. Holt's other award-winning concerto on this album is a much more upbeat and quirky affair. Written for and performed on this recording by one of the world's finest percussionists, Collin Currie, "A Table of Noises" introduces us to Holt's taxidermist great uncle Ashworth, a kind of maverick scientist-cum-collector. Currie says "this percussion concerto exuberantly tears up the manual on how to approach the medium and I am thrilled with the idiosyncratic, adventure results". The soloist is seated on a cajon, and apart from the xylophone and glockenspiel, all the other instruments are laid out on a table in front of the soloist, hence the title. Each brief movement has a descriptive title and is linked by five "ghost" orchestral interludes.
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