Embedded Files
Agitations for Two Pianos is a two-piano version by Fitz Patton of Richard Wilson's orchestral piece of that title. Richard Wilson and Blanca Uribe, pianists
Richard Wilson's PERSUASIONS is a solo cantata with instrumental interludes. There are six sections, three of which (sections 2, 4, and 6) are settings of love poems by Thomas Carew (c. 1595- c. 1639).
1. Prelude
2. Lips and Eyes
3. Interlude: Duo
4. Mediocrity in Love Rejected
5. Interlude: Solo
6. Secrecy Protested
In addition to the soprano, four players employ a total of six instruments--alto flute, oboe, English horn, bassoon, contrabassoon, and harpsichord--but in ensembles of different size and makeup, ranging from solo harpsichord in part 5, to a quartet of alto flute, oboe, bassoon and harpsichord in part 6. No two sections have the same instrumentation. The purely instrumental portions provide contrast of mood and style but are not thematically related to each other or to the vocal settings.
In this recording, taken from Albany Records TROY 074, the performers are: Amy Burton, soprano, Blanca Uribe, harpsichord, John Solum, alto flute, Marc Schachman, oboe and English horn, and Gilbert Dejean, bassoon and contrabassoon.
Blanca Uribe and Richard Wilson play Bach: Two fugues
Blanca Uribe and Richard Wilson play Clementi.
Richard Wilson’s Piano Concerto
Blanca Uribe, piano
Leon Botstein conducting the Pro Arte Chamber Orchestra of Boston
Richard Wilson Piano Concerto Review
American Record Guide March/April 1993, page 140
Mark Lehman
Three almost new concerts by distinguished American composers could hardly have more committed perfomances (by the soloists they were written for) or better sounding recordings.
….
….
Better than these two [Starer and Wernick] is Richard Wilson’s Piano Concerto. Wilson (see Nov/Dec 1991) is the youngest and most technically accomplished of the three, and his concerto is the longest (at 34 minutes) and most “difficult”, more because of the density of its musical discourse than its highly chromatic but still very melodic idiom. There are wonderful things in it—a lovingly-shaped dialog between the piano and solo clarinet in II stands out asan example—and one never doubts the composer’s intelligence, taste, or craft. It is for Wilson’s concerto, and particularly the subtle emotional slow movement, that I will return to this disc with a willing ear.
Richard Wilson’s Viola Sonata for Viola and Piano
Walter Trampler, viola
Blanca Uribe, piano
Richard Wilson: Affirmations
David Fedel, flute; Allen Blustine, clarinet; Rolf Schulte, violin; Dorothy Lawson, cello; Blanca Uribe, piano
Google Sites
Report abuse