But each prelude has its personal little story to inform; these are true “character” items, not mechanically produced ones, and tons of of them are completely different from each other. Would that many other fashionable composers, who all seem locked into both the “edgy-abrasive” fashion or the “maudlin-soporific” style of composition, might be as varied in their method as Skafte is. He even channels Debussy in the twelfth prelude, “Not right now,” the subtitle of which is “La cathédrale…” so that you don’t miss the reference, but the musical solution is his and his alone. And Welser-Most doesn’t hold back on the thorny facet of Walker’s oeuvre.
- By distinction, the opening motion of the Quartet No. 6 makes use of quite lots of syncopation, nearly but not fairly in a jazz-like method, which the Wieniawski players seize to perfection.
- And when they discover, they want dependable info so they can