Charles Groves

Sir Charles Groves’s sturdy yet affectionate reading of Arthur Sullivan’s wholly charming Irish Symphony was always one of the best of his EMI offerings with the RLPO and the 1968 recording remains vivid. In the sparkling Overture di hallo, again, Groves conducts with plenty of character. There are also first-rate performances of Sullivan’s undemanding Cello Concerto from 1866 (in a fine reconstruction by Sir Charles Mackerras – the manuscript was destroyed in Chappell’s fire of 1964) as well as Elgar’s wistful little Romance (originally for bassoon). This is a thoroughly attractive mid-price reissue.

Sir Charles Groves’s sturdy yet affectionate reading of Arthur Sullivan’s wholly charming Irish Symphony was always one of the best of his EMI offerings with the RLPO and the 1968 recording remains vivid. In the sparkling Overture di hallo, again, Groves conducts with plenty of character. There are also first-rate performances of Sullivan’s undemanding Cello Concerto from 1866 (in a fine reconstruction by Sir Charles Mackerras – the manuscript was destroyed in Chappell’s fire of 1964) as well as Elgar’s wistful little Romance (originally for bassoon). This is a thoroughly attractive mid-price reissue.

The Finzi Clarinet Concerto has been particularly lucky on CD, with a whole series of fine versions issued, including those above. Yet Emma Johnson, spontaneous in her expressiveness, brings an extra freedom and often an extra warmth to make this in many ways the most winning of all. Finzi's sinuous melodies for the solo instrument are made to sound as though the soloist is improvising them, and with extreme daring she uses the widest possible dynamic range down to a whispered pianissimo that might be inaudible in a concert-hall.[[/quote]

The Finzi Clarinet Concerto has been particularly lucky on CD, with a whole series of fine versions issued, including those above. Yet Emma Johnson, spontaneous in her expressiveness, brings an extra freedom and often an extra warmth to make this in many ways the most winning of all. Finzi's sinuous melodies for the solo instrument are made to sound as though the soloist is improvising them, and with extreme daring she uses the widest possible dynamic range down to a whispered pianissimo that might be inaudible in a concert-hall.[[/quote]