Edgy postwar modernism, anyone? That's what Welsh composer Alun Hoddinott dishes up in this coupling of his Clarinet Concerto from 1950, his Harp Concerto from 1957 but revised in 1970, his Piano Concerto No. 1 from 1960, and his Piano Concerto No. 2, also from 1960 but revised in 1969. For Hoddinott, themes have to be developed and transformed, forms need to be tight and compact, rhythms have to be propulsive in fast movements and restless in slow movements, and harmonies should be tonal with a strong dose of dissonance. In terms of his English contemporaries, Hoddinott is a cross between a less populist Arnold and a more accessible Rawsthorne -- and about at their level in terms of achievement. Though the soloists here are clearly virtuosos dedicated to bringing the music to life, neither clarinetist Gervase de Peyer, harpist Osian Ellis, pianist Philip Fowke (in the First Piano Concerto), nor pianist Martin Jones (in the Second) can make the music especially memorable. And superbly accompanied though the soloists are by David Atherton leading the London Symphony in the clarinet and harp concertos, by Barry Wordsworth leading the Royal Philharmonic in the First Piano Concerto, and by Andrew Davis leading the Royal Philharmonic in the Second, none of them can make the music particularly enjoyable. Whether stereo in the clarinet, harp, and Second Piano Concerto or digital in the First Piano Concerto, Lyrita's sound is consistently clean, crisp, and detailed.
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