Papandopulo - Piccolo Concerto, Harpsichord Concerto, 5 Orchestral Songs | CPO 7779412

Papandopulo - Piccolo Concerto, Harpsichord Concerto, 5 Orchestral Songs

£12.69

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Label: CPO

Cat No: 7779412

Format: CD

Number of Discs: 1

Release Date: 30th November 2018

Contents

Artists

Michael Martin Kofler (piccolo flute)
Jorg Halubek (harpsichord)
Miljenko Turk (baritone)
Sudwestdeutsches Kammerorchester Pforzheim

Conductor

Timo Handschuh

Works

Papandopulo, Boris

Concerto for harpsichord and string orchestra
Orchestral Songs (5) for baritone, string orchestra and harp
Small Concerto for piccolo and string orchestra

Artists

Michael Martin Kofler (piccolo flute)
Jorg Halubek (harpsichord)
Miljenko Turk (baritone)
Sudwestdeutsches Kammerorchester Pforzheim

Conductor

Timo Handschuh

About

Boris Papandopulo: his name sounds Greek, and yet he has to be regarded as the most important Croatian composer of the twentieth century. cpo's third release featuring this uncommonly versatile composer presents his Concertos for piccolo and harpsichord. As in many of his concertos for solo instruments and orchestra, here too Papandopulo draws on Baroque sources in his Harpsichord Concerto. The three characteristic movements follow the model fast-slow-fast in their sequence. In the introductory cantata the composer incorporates dodecaphonic features into the musical structure in a most highly individual and original manner in order then to blend them with compositional-technical elements of the Baroque. He employed the piccolo in many ways his works. It usually enabled him to evoke nature through musical means – the country idyll, the sounds of shepherd’s pipes and birdcalls, and the stylized folk dance. Such a sunny, idyllic and Arcadian atmosphere also radiates throughout the Prelude with its stylized birdsong forming the beginning of the Little Concerto. His orchestral songs round off the CD. Papandopulo’s music concentrates as much as possible on the text in these little genre pictures, a fact reflected in his thoroughly recitative treatment of the words as well as in his neo-impressionistic compositional technique. This tonal coloration is shown not only in the subtle chords of the harp but also in his frequent use of bitonal sound layers.

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