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EDGAR LESLIE BAINTON
(1880-1956)
premiere recordings
Three Pieces for Orchestra (1916-18, revised 1919-20)
10:30
1.
I
Elegy. Lento, molto tranquillo - [ ] - Tempo I
4:22
2.
II
Intermezzo. Vivace, molto leggiero - Poco meno mosso - Tempo I
3:21
3.
III
Humoresque. Vivace con brio - Stringendo
2:40
Pavane, Idyll and Bacchanal (1924)
9:10
for String Orchestra, with Flute and Tambourine ad libitum
4.
I
Pavane. Andante - [ ] - Tempo I
2:05
5.
II
Idyll. Moderate, con grazia - Poco più mosso - Tempo I
3:26
Solo:Richard Davis flute
6.
III
Bacchanal. Allegro, molto vivace, e con fuoco - [ ] - Poco meno mosso - Tempo I
3:31
The Golden River, Op. 16 (1908, revised 1912)
16:31
Suite for Orchestra after Ruskin
7.
I
South West Wind Esquire. Molto energico - Meno mosso - Più mosso
4:19
8.
II
Little Gluck. Allegretto - Meno mosso - Tempo I - Sempre ritardando
4:06
9.
III
The King of the Golden River. Allegro, all burla
2:13
10.
IV
The Golden River. Andante, molto tranquillo, ma con moto - Poco allegretto - Tempo I
5:42
Concerto fantasia (1917-20)
31:54
for Piano and Orchestra
11.
I
Quasi cadenza - Adagio, molto espressivo -
13:13
12.
II
Scherzo. Molto vivace - Poco meno mosso - Cadenza -
4:49
13.
III
Improvisation. Quasi cadenza. Lento - Andante moderato
6:09
14.
IV
Finale. Allegro, molto ritmico e risoluto - Molto più allegro -
5:21
15.
Epilogue. Adagio, molto espressivo
2:13
68:35
Orchestra: BBC Philharmonic Orchestra
Conductor:Paul Daniel
20 and 21 September 2007
Notes
BAINTON: CONCERTO FANTASIA ETC.
Born 1880, Edgar Bainton was a pupil of Stanford, friend of George Dyson and long-time Principal of the Newcastle-upon-Tyne Conservatory. In 1914, en route to the Bayreuth Festival, he was apprehended by German authorities and interned for the duration of the war. Despite the hardships, he composed the Three Pieces for Orchestra and the Concerto fantasia whilst in the Ruhleben Camp near Berlin. All the pieces recorded here had been composed by 1934, the year in which Bainton emigrated to Australia to take up the post of Director of the New South Wales State Conservatorium, after which his works too sadly disappeared from the British musical scene. All are here recorded for the first time and display a romantic sensibility, melodious and accessible. They are performed by the BBC Philharmonic conducted by Paul Daniel, with Margaret Fingerhut the piano soloist in the highly unusual Concerto fantasia.
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Reviews
Nothing here is less than superbly crafted and orchestrated, and excellently performed.
International Record Review
Margaret Fingerhut’s limpid pianism proves tailor-made for such gorgeously lyrical tenderly poetic and subtly integrated offering, which bids farewell in the sunset glow of a somewhat Baxian epilogue…. The BBC Philharmonic under the sympathetic baton of Paul Daniel seem to enjoy the experience, and the engineering is as ripe and accommodating as we have come to expect from Chandos. More Bainton, please!
Gramophone
Bainton is, however, worth knowing, and is strongly espoused in these premiere recordings by Paul Daniel and the excellent BBC Philharmonic.
BBC Music Magazine
These performances vindicate the decision to revive him, with Margaret Fingerhut excelling in the concerto’s outpouring of lyricism.
The Telegraph
The performances under Paul Daniel, though, with Margaret Fingerhut the agile soloist in the Concerto Fantasia have just the right sparkle and elegance.
The Guardian
All of these expertly played, engineered and annotated performances deserve a place on any self-respecting collector’s heaving shelves some of the most gloriously perfumed, gently ecstatic music ever to emerge from the pen of an English composer. Margaret Fingerhut, one of the most radiantly musical of pianists, plays with such alluring sensitivity and effortless command that one cannot help but be one over.
International Piano
Paul Daniel, as usual, delivers focus and energy in these performances. He brings out a great deal of harmonic, orchestral, and contrapuntal detail, but momentum never falters; not even in the highky elastic flow of the Improvisation’s final pages from the Concerto fantasia. The BBC Philharmonic is fully alive to the colouristic demands of each work, notably in the sharply accented string writing of the Bacchanal and the rich, constantly shifting orchestral textures of the elegy. Margaret Fingerhut has the technical and colouristic demand to do full justice to the Concerto Fantasia.
Fanfare
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