Concert at Cankarjev dom 24.2.2011. James Oxley - tenor Boštjan Lipovšek - horn En Shao - conductor The Symphony Orchestra of Slovenian Radio&Television
I have known this work for over 40 years and have listened to most of the recordings. This is the best I have heard - not just for the wonderful tenor, the superb orchestra.. but for the balance. This is the only recording that shows the genius of Britten’s marvelous orchestration
What an amazing performance from one and all, and special admiration for that wonderful and infinitely varied horn sound! So very enjoyable, thank you! From your friends in North Nibley .
Bravo Bostjan and James, this is one of the most beautiful performances of this magnificent work by Britten. You both are so musical, and each of you have the technique to make this work sound easy. What a joy to hear this stunning performance. En Shao, and the Orchestra enriched what you two artists brought to this sublime work. Bravo, Bravo, Bravo!
This is a true marvel. James Oxley only gets animated in opera on stage and in this work saves his energy to be note perfect, have wonderful diction (with shades of his north Suffolk accent) and to phrase the work to give due air to the whole ensemble. It can sometimes be a tenor and horn match with the string writing being outshone. Here, the horn playing of Bostjan Lipovsek is the dynamic twin of the tenor, suggesting that the soloists were thoroughly in accord. Conductor En Shao will have shaped the work like a director of proceedings (as Britten asked of Goosens) and the unerring quality of the string playing is spot on with a central-south European sonority. I used to have hopes that Bostridge would excel in BB's settings of English but he succumbed to mannerisms and ego. Langridge avoided that trap but did not perform as much Britten as he would have liked. I hope that Oxley will work again with the superb Slovenians and perhaps give us the perfect 'Hunting Fathers', 'Nocturne' and other works.
A very sympathetic performance by the whole orchestra, credit for which must, I would suppose, go in some measure to the conductor who is not named in the credits. That said, a special accolade is due to the wonderful horn player. I do not forget the singer who is English and gave a beautiful performance - absolutely Lyric High Tenor and immaculate throughout. I wonder, though, if it's worth commenting that Britten did not write the work for "a Tenor" but specifically for Peter Pears whose voice was on the cusp between High Tenor and Light Baritone and whose personality inclined strongly towards the histrionic.
It's tricky. Either block everything else out and return to the same 'g' every time, or try and find where the 'g' is in the changing harmony. I think I do the latter...
@@jamesoxley9191 A friend of mine was working on a Messiaen work wth Madame Messiaen herself at the piano. He was constantly missing the same entry several times in a row. He apologised but asker her to help him with the entry. "Do not worry." she said, "De note ees een dee chord", as she proceeded to play an eleven note chord, elbows and all! 🤣
Britten wrote to a friend in April 1943 "I've practically completed a new work (6 Nocturnes) for Peter and a lovely young horn player Dennis Brain, & Strings ... It is not important stuff, but quite pleasant, I think." (wikipedia) If the friend knew Britten very well, (and also knew Britten and Peter Pears, for whom he wrote the tenor part, were a couple when homosexuality was still illegal in Great Britain) the description "quite pleasant, I think" would have conveyed a lot, especially with regard to parts of the Elegy and Sonnet. I am no 'expert', but I read a little about Britten's life and related matters when I had the opportunity to play the horn part in a weekend workshop at Benslow (in Hitchin) which included this Serenade.
Yes, I'd read that too. He often seemed quite insecure about the stature of his compositions: he made similar remarks about the Frank Bridge variations and the violin concerto. So not the best judge of his own music - or maybe just excessively modest.
Such a precious piece of music. And so preciously and stunningly performed. Bravo to all. Magnificent horn.
I have known this work for over 40 years and have listened to most of the recordings. This is the best I have heard - not just for the wonderful tenor, the superb orchestra.. but for the balance. This is the only recording that shows the genius of Britten’s marvelous orchestration
that's right. there is no good recording yet.
wonderful interpretation of this marvellous composition,thanks for sharing!
Glorious. Thank you.
What an amazing performance from one and all, and special admiration for that wonderful and infinitely varied horn sound! So very enjoyable, thank you! From your friends in North Nibley .
Impeccable horn playing!! Well done.
I return to this from time to time when I need it. An underappreciated collection well executed. Thank you.
such a MASTERPIECE! thanks for sharing!
Thank you all for this wonderful performance. A marvellous piece of music by Britten, creates such an amazing atmosphere. What a treat!
Bravo Bostjan and James, this is one of the most beautiful performances of this magnificent work by Britten. You both are so musical, and each of you have the technique to make this work sound easy. What a joy to hear this stunning performance. En Shao, and the Orchestra enriched what you two artists brought to this sublime work. Bravo, Bravo, Bravo!
Thank you
Bravissimi Elegant and effective !🌻
This is the best performance I have heard. Thank you very much
Congratulations, my friend Bostjan. One of the bests performances of this peace I’ve ever heard. Your amazing sound is still incredible.
Great pun there... peace instead of piece ❤️
what a great interpretation of this most magnificient work,thanks for sharing!
La mejor interpretación de esta maravillosa obra, el papel del trompa inmejorable, los matices, el discurso con el tenor, lo dicho, 😊
This is a true marvel. James Oxley only gets animated in opera on stage and in this work saves his energy to be note perfect, have wonderful diction (with shades of his north Suffolk accent) and to phrase the work to give due air to the whole ensemble. It can sometimes be a tenor and horn match with the string writing being outshone.
Here, the horn playing of Bostjan Lipovsek is the dynamic twin of the tenor, suggesting that the soloists were thoroughly in accord.
Conductor En Shao will have shaped the work like a director of proceedings (as Britten asked of Goosens) and the unerring quality of the string playing is spot on with a central-south European sonority.
I used to have hopes that Bostridge would excel in BB's settings of English but he succumbed to mannerisms and ego. Langridge avoided that trap but did not perform as much Britten as he would have liked.
I hope that Oxley will work again with the superb Slovenians and perhaps give us the perfect 'Hunting Fathers', 'Nocturne' and other works.
Excelente como siempre Maestro💪📯👏 saludos desde 🇵🇪
Bravo Gordo !!!!
Amazing
Amazing 👏👏👏
Bravo, klingt top!
Bravo Boštjan, to si takrat res močno interpretiral, odlične atake, super zvok!
Superb performance!
A very sympathetic performance by the whole orchestra, credit for which must, I would suppose, go in some measure to the conductor who is not named in the credits. That said, a special accolade is due to the wonderful horn player.
I do not forget the singer who is English and gave a beautiful performance - absolutely Lyric High Tenor and immaculate throughout.
I wonder, though, if it's worth commenting that Britten did not write the work for "a Tenor" but specifically for Peter Pears whose voice was on the cusp between High Tenor and Light Baritone and whose personality inclined strongly towards the histrionic.
👏👏👏Bravissimo!
Amazing performance!
Você é Demais, Gordo!
Bravi Tutti
Gordo é sinistro.
Grande cornista! Bravo!
👏👏👏
Bravi tutti
The way his eyes drill into you on the line "And Christe receive thy saule" - absolutely terrifying!
Hornist is great bravo!!👏👏👏👏👏
the tenor too!👏👏👏
Beautiful
This was gorgeous. Especially Dirge and Sonnet. I swear in Dirge Britten was daring the tenor to lose the pitch.
Long before Dirge, I dare say.
It's tricky. Either block everything else out and return to the same 'g' every time, or try and find where the 'g' is in the changing harmony. I think I do the latter...
@@jamesoxley9191 A friend of mine was working on a Messiaen work wth Madame Messiaen herself at the piano. He was constantly missing the same entry several times in a row. He apologised but asker her to help him with the entry. "Do not worry." she said, "De note ees een dee chord", as she proceeded to play an eleven note chord, elbows and all! 🤣
Wonderful performance of a masterpiece, despite Britten’s dismissing it as a minor work.
Did he ? Didn't know that.
@@johnnywhite58 That is because he never said any such thing.
Britten wrote to a friend in April 1943
"I've practically completed a new work (6 Nocturnes) for Peter and a lovely young horn player Dennis Brain, & Strings ... It is not important stuff, but quite pleasant, I think."
(wikipedia)
If the friend knew Britten very well, (and also knew Britten and Peter Pears, for whom he wrote the tenor part, were a couple when homosexuality was still illegal in Great Britain) the description "quite pleasant, I think" would have conveyed a lot, especially with regard to parts of the Elegy and Sonnet.
I am no 'expert', but I read a little about Britten's life and related matters when I had the opportunity to play the horn part in a weekend workshop at Benslow (in Hitchin) which included this Serenade.
Yes, I'd read that too. He often seemed quite insecure about the stature of his compositions: he made similar remarks about the Frank Bridge variations and the violin concerto. So not the best judge of his own music - or maybe just excessively modest.
Best tenor, not necessarily best horn player. Excellent orchestra slso