℗ ℗ 2020 Claves Records
 

Music for Viola & Chamber Orchestra: Vaughan Williams, Martinů, Hindemith & Britten

Timothy Ridout, Orchestre de Chambre de Lausanne, Jamie Phillips

Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats

  • Select Format
    • AIFF 96 kHz | 24-bit
    • FLAC 96 kHz | 24-bit
Add to cart
discounted price
 
Suite for Viola & Orchestra, Group 1  
1.1
I. Prelude. Allegro moderato
Ralph Vaughan Williams; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
2:59
1.2
II. Carol. Andante con moto
Ralph Vaughan Williams; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
2:19
1.3
III. Christmas Dance. Allegro
Ralph Vaughan Williams; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
1:56
Suite for Viola & Orchestra, Group 2  
1.4
I. Ballad. Lento non troppo
Ralph Vaughan Williams; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
5:42
1.5
II. Moto Perpetuo. Allegro
Ralph Vaughan Williams; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
3:37
Suite for Viola & Orchestra, Group 3  
1.6
I. Musette. Lento
Ralph Vaughan Williams; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
4:39
1.7
II. Polka Mélancolique. Molto moderato
Ralph Vaughan Williams; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
3:27
1.8
III. Galop. Allegro molto
Ralph Vaughan Williams; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
2:15
Rhapsody-Concerto for Viola and Orchestra, H. 337  
1.9
I. Moderato
Bohuslav Martinů; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
9:05
1.10
II. Molto adagio
Bohuslav Martinů; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
10:21
Trauermusik für Streichorchester mit Solobratsche  
1.11
I. Langsam
Paul Hindemith; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
3:05
1.12
II. Ruhig bewegt
Paul Hindemith; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
0:42
1.13
III. Lebhaft
Paul Hindemith; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
1:16
1.14
IV. Choral "Für deinen Thron tret ich hiermit“ – Sehr langsam
Paul Hindemith; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
2:06
1.15
Lachrymae, Op. 48a
Benjamin Britten; Timothy Ridout; Orchestre de Chambre de Lausanne; Jamie Phillips
14:47
Total Playing Time    68:16
The wealth of music composed for the viola in the 20th century almost lets one forget the dearth of it in the 19th, which brought forth only two solo works of note: Hector Berlioz’s Harold in Italy, a concerto commissioned by Paganini that sidelines the viola so much he refused to play it; and Richard Strauss’s Don Quixote, in which the solo viola is relegated to the part of the Don’s sidekick Sancho Panza. Sidelined and sidekicked – the viola’s fate seemed a fulfilment of the oft-quoted line from Quantz’s sometime flute treatise that “the viola is largely regarded among musicians as being of little significance”.

It was only really in the 20th century that composers realised that the viola’s status of an in-between instrument could actually be to its advantage. It’s bigger than a violin, but tuned like a cello, and is both warmer in tone than the former, and much more agile than the latter. The viola then had the good fortune to become the preferred instrument of several important composers. Ralph Vaughan Williams (1872-1958) briefly toyed with going professional on it; Paul Hindemith (1895-1963) went the whole hog and made a living from it in the Amar Quartet and as a soloist; and Benjamin Britten (1913-1976) too was a violist, though he kept his public performing activities to the piano and the podium. Here, Timothy Ridout explores this history in his homage to the Viola in Chamber orchestral works.

Selected as a BBC New Generation Artist in 2019, Timothy Ridout is one of the most sought after violists of his generation. Over the last year Timothy has made his debut with the Hamburg Symphony Orchestra, undertaken a residency with Baden-Baden Philharmonie, and performed the Walton Concerto with the Tonhalle Orchestra Zurich under the auspices of the Orpheum Foundation. He has worked with conductors including Christoph Eschenbach, David Zinman, Gabor Takács-Nagy, Sylvain Cambrelling, Jamie Phillips and Sir Andras Schiff.
96 kHz / 24-bit PCM – Claves Records Studio Masters

For Your Consideration | More ▸

Offers & New Releases

exclusive benefits for mailing list members

Subscribe Now

What is High-Resolution Audio?

High-resolution audio offers the highest-fidelity available, far surpassing the sound quality of traditional CDs. When you listen to music on a CD or tracks purchased via consumer services such as iTunes, you are hearing a low-resolution version of what was actually recorded and mastered in the studio. ProStudioMasters offers the original studio masters — exactly as the artist, producers and sound engineers mastered them — for download, directly to you.

What do I need for playback?

You may need additional software / hardware to take full advantage of the higher 24-bit high-res audio formats, but any music lover that has heard 16-bit vs 24-bit will tell you it's worth it!

Software for Mac OS X

Software for Windows

Hardware Suggestions