14,00€* per piece. Dorati, Antal: 5 Pièces: pour le hautbois. 5 Stücke: für Oboe. Publisher: Boosey & Hawkes Publishers Ltd. Product Number: M Dorati’s “Cinq pièces”: (The Six Oboe Works by Antal Dorati, Part IV). Download Citation on ResearchGate | A study of the six oboe works by Antal Dorati / | Computer printout. Document (D. Mus.)–Indiana University, Includes.
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With the mice born of the mountainous labours of some other conductor-composers in mind, one can pay Dorati the compliment of saying that his compositions would be interesting and worth hearing even if we did not know that he was a conductor.
Works by Antal Dorati |
In fact he originally intended eorati be a ‘composer who also conducts’, and he studied composition with Kodaly for its own sake, not simply as a valuable discipline for a career on the rostrum. That he is a real composer, not merely a ‘conductor who also composes’, is obvious: It is precisely imagined music, too, with no wasted notes and a thoroughly idiomatic use of instruments.
All three works here were written for Heinz Holliger, and they show a shrewd understanding, both of the limits such as they are of his technique, and of his personality as an interpreter: The Duo concertant is conceived as a modern Hungarian Rhapsody, very much in the tradition of Kodaly and Bartok the dorait evident in the piano part, no less carefully tailored to the talents of Andras Schiffwith an elegiac and slightly oriental-sounding slow introduction leading to a longer, well-varied and well-sustained scherzo.
The virtuoso fireworks are exciting, but there is, too, an expressive warmth that is most attractive.
The Cinq dorayi are character studies or little dramas as well as almost impossible technical hurdles for Holliger to leap over, doarti the serene cantabile of the second and fourth pieces a ‘love letter’ and a lullaby respectivelytogether with the pleasing ingenuity of the central fugue and the almost visible conjuring tricks of the finale ”Legerdemain”make of these, too, something more than display pieces.
The Trittico is a full-scale concerto, each movement featuring a different dorqti of the double-reed sorati Dorati is not a major composer, perhaps, but I can think of quite a few of his contemporaries and juniors who have less to say and much less elegance and assurance in their way of saying it.
The performances, it almost goes without saying, are splendidly adroit; the players sound grateful for the music and fond of it. Dorati has not been as well served by the recording engineers, however: Holliger is very closely microphoned in the Cinq piecesand his gasps for breath are rather distracting; there is also a curious knocking sound, as though his instrument were catching against a music stand. The Trittico was recorded at a public concert, and the combined uproar of creaking chairs, platform noises and a squeaky floor is at times louder than the music.
Dorati’s “Cinq pièces”
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