Edward Elgar: Cello Concerto in E minor, Op. 85 / I. Adagio ? Moderato
II. Lento - Allegro molto
IV. Allegro - Moderato - Allegro, ma non-troppo - Poco piu lento - Adagio
Inbal Segev :
Clyne-Dance | Elgar-Cello Concerto
This formidable release features Inbal Segev performing Elgar's emotive Cello Concerto coupled with DANCE, an inspiring new work by Grammy-nominated English composer Anna Clyne that was commissioned by Inbal. On this powerful recording, Marin Alsop conducts the London Philharmonic Orchestra.
Marin introduced Inbal to Anna, sparking a special synergy between the three women. While Anna was composing DANCE, a five-movement concerto inspired by the 13th-century Persian poet Rumi, further connections ensued. Anna's soulful and vibrant music combines cultures that include her Irish-English family, Polish-Jewish ancestry and Inbal's Israeli-American heritage. Inbal expounds, "Anna's music has an old-soul sensibility but is fresh and modern at the same time. This juxtaposition of old and new has always appealed to me; it suits my playing, as well as the tone of my 1673 Ruggieri cello."
Inbal's idea to record Anna Clyne's DANCE alongside Elgar's Cello Concerto is timely: the two works were composed exactly 100 years apart. Inbal enthuses, "It is so rewarding to record and perform the work of a contemporary female composer whose music withstands comparison with Elgar's. The two pieces share a certain sensibility – a romanticism, warmth and humanity – that transcends any stylistic differences."
Elgar's Cello Concerto, written in the wake of World War I, is deeply reflective. Anna Clyne's DANCE is optimistic and forward-looking. Inbal's recording of these two cello concertos is timeless.
"Segev's majestic tone quality makes her interpretation a beautifully cantabile addition to the recorded literature" – Strings
"a composer of uncommon gifts and unusual methods" – The New York Times, ( describing Anna Clyne's music )
"Alsop impresses not only as a communicator and female role model; she is also an ambassador for classical music in the 21st century" – Financial Times summary