|Double Concerto for Flute and Piano, Op. 63 - I. Allegro moderato|
|Double Concerto for Flute and Piano, Op. 63 - II. Andante|
|Double Concerto for Flute and Piano, Op. 63 - III. Rondo: Allegro con spirito|
|Concertino, Op. 27 - I. Toccata: Im Tempo sehr frei|
|Concertino, Op. 27 - II. Sarabande: Largo|
|Concertino, Op. 27 - III. Scherzo: Allegro|
|Concertino, Op. 27 - IV. Air: Molto moderato|
|Concertino, Op. 27 - V. Finale: Allegro moderato|
|Concert, Op. 89 - I. Modere, mais bien decide|
|Concert, Op. 89 - II. Lent et expressif|
|Concert, Op. 89 - III. Mouvement de ronde francaise|
Notes & Reviews:
This disc features works by three composers - Vincent d'Indy, Ernst Krenek, and Erwin Schulhoff - who in the mid- to late-1920s adopted neoclassicism and wrote works in the neo-baroque concerto grosso style. Sir Neville Marriner conducts the Academy of St Martin in the Fields, one of the most recorded chamber orchestras in the world.
MusicWeb International, 2nd October 2013
Well played and recorded throughout, with the Krenek being the undoubted highlight.
American Record Guide, March/April 2014
Krenek's Concertino (1924) predates his 12-tone phase. The overall effect is one of dry ingenuity. The Schulhoff (1927) begins with polytonal counterpoint a la Hindemith, going about its business with determination. D'Indy's Concert, written in 1926, when he was 75, is au courant with 1920s trends and sounds. With the Krenek and the Schulhoff, you get cleverness. The performances from soloists and orchestra are adept, and Marriner's lively direction makes a good case for this fare. It's good to hear such buoyant music-making from a nonagenarian. Chandos's sound is, per normal, first-rate.
BBC Music Magazine, February 2014
Altogether this is an attractive disc: all the 'ripieno' soloists are excellent, Karl-Heinz Schutz's flute and Robert Nagy's cello calling for special mention. Marriner and the Academy of St Martin in the Fields provide accompaniments of the necessary brio and point.
Gramophone Magazine, January 2014
Diverting rather than revelatory examples of the post-First World War reaction against the grand, soloistic traditions of the Romantic concerto...You may not respond to everything in the programme but [Prinz] and her associates are convincing advocates throughout.
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