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Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. His work is conceived in a modern spirit, but is free from those extravagances which pass for originality in so much contemporary work. But these early signs of promise did not translate into success in the longer term. A disciple of Rachmaninov, Coke evidently felt no kinship with the music either of the post-War European avant-garde or of his nearest British contemporary, Benjamin Britten. Instead, his unashamedly romantic musical style reflected his admiration for Bruckner, Mahler, Bax and Sibelius, as well as his sympathy with Russian music and culture generally, placing him outside the mainstream of British musical culture at that time. Coke was also highly self-critical, withdrawing his first twelve opuses—including the first and second piano concertos despite their evident public success —in around His unstable mental health was another factor, a diagnosis of schizophrenia in his twenties leading to prolonged spells of hospital confinement. Performances of his music after the Second World War were mostly confined to the local Derbyshire orbit, notwithstanding a few appearances at the Wigmore Hall, and few works were published. His hopes for a wider resurgence of interest rested on two high-profile and entirely self-funded performances in London in the late s: a planned concert at the Royal Festival Hall and a performance of his only opera, The Cenci , at the Scala Theatre, both under the baton of Sir Eugene Goossens. A late renaissance seemed possible in , when the pianist Moura Lympany programmed a couple of preludes in a recital at Abbotsholme School, later broadcast, and the composer himself was interviewed by the BBC, but Coke succumbed to a heart attack only two years later. His considerable output includes around a hundred songs, much solo piano music sonatas, variations, and a set of twenty-four preludes , four symphonic poems for orchestra, sonatas for violin, cello, clarinet and viola, a string quartet, and two piano trios. Ein weiterer Faktor war seine instabile seelische Gesundheit. Nach dem 2. Don't show me this message again. The pianist and composer Roger Sacheverell Coke was born in Derbyshire in The son of an old Derbyshire family that traced its roots to the fifteenth century, Coke was raised by his mother Dorothy after his father died in combat early in the First World War. Following his studies, Coke returned to the ancestral home, Brookhill Hall, where his mother converted the coach house and stable block to serve as his music studio and concert hall. This remained his home and the centre of his musical activities for the rest of his life. Er stammte aus einer alten Familie, deren dortige Wurzeln bis ins Complete works available for download. Alphabetical listing of all musical works.
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Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. If that sounds an intriguingly eclectic mix, Coke establishes his own distinctive voice, and this is an important addition to the Romantic Piano Concerto series. His work is conceived in a modern spirit, but is free from those extravagances which pass for originality in so much contemporary work. But these early signs of promise did not translate into success in the longer term. A disciple of Rachmaninov, Coke evidently felt no kinship with the music either of the post-War European avant-garde or of his nearest British contemporary, Benjamin Britten. Instead, his unashamedly romantic musical style reflected his admiration for Bruckner, Mahler, Bax and Sibelius, as well as his sympathy with Russian music and culture generally, placing him outside the mainstream of British musical culture at that time. Coke was also highly self-critical, withdrawing his first twelve opuses—including the first and second piano concertos despite their evident public success —in around His unstable mental health was another factor, a diagnosis of schizophrenia in his twenties leading to prolonged spells of hospital confinement. Performances of his music after the Second World War were mostly confined to the local Derbyshire orbit, notwithstanding a few appearances at the Wigmore Hall, and few works were published. His hopes for a wider resurgence of interest rested on two high-profile and entirely self-funded performances in London in the late s: a planned concert at the Royal Festival Hall and a performance of his only opera, The Cenci , at the Scala Theatre, both under the baton of Sir Eugene Goossens. A late renaissance seemed possible in , when the pianist Moura Lympany programmed a couple of preludes in a recital at Abbotsholme School, later broadcast, and the composer himself was interviewed by the BBC, but Coke succumbed to a heart attack only two years later. His considerable output includes around a hundred songs, much solo piano music sonatas, variations, and a set of twenty-four preludes , four symphonic poems for orchestra, sonatas for violin, cello, clarinet and viola, a string quartet, and two piano trios. The influence of Rachmaninov is heard most powerfully in the Piano Concerto No 3 in E flat major, Op 30, which was composed according to the composer in the space of six or seven weeks in the autumn of Dedicated to the pianist Charles Lynch, who gave the first performance in Bournemouth in , the work opens with a sonata-form movement that exudes the romantic sweep of the Russian master at his most rhapsodic. A brief introductory section immediately suggests the traditional combative relationship between soloist and orchestra, with dark-hued string passages punctuated by declamatory flourishes from the pianist. After a brief recapitulation, the movement closes with the return of the dramatic introductory section, this time subsiding slowly into a quiet, equivocal conclusion. The second movement is formed of ten variations on a lyrical Debussyian theme first stated by the piano in an extended solo introduction. Harmony, orchestration and rhythmic development are more ambitious here, the theme transforming via jaunty staccato chords, solo strings with rippling piano accompaniment, menacing brass interventions and furious solo passages before returning to something close to its original form in the piano and plangent upper strings. Following a solo introduction, the final movement opens in exuberant fashion, with a heroic theme elaborated over a long paragraph with the piano and orchestra in dialogue. A lengthy cadenza, punctuated by insistent brass fanfares, finally leads into a return of the opening material, now at full throttle with bombastic accompaniment, and the concerto ends with a rousing coda. More complex than the third concerto in terms of motivic development, orchestration and harmony, here the overriding impression is of a constantly shifting landscape inhabiting a sound world closely akin to Scriabin. The piano writing is by turns virtuosic, impassioned and tender, juxtaposing extended solo passages with brooding strings, heavy brass interjections, fluttering woodwind trills, and angular violin solos. The brief central intermezzo brings a significant change in mood. The music is framed by a lilting, angular theme, repeated and varied by the piano, which provides the germ for some complex solo passages exploring the full span of the keyboard. The final movement opens with renewed urgency, with a forceful syncopated figure—exchanged between strings, wind and brass—punctuated by forthright keyboard interjections. Only a single movement is known to survive, almost certainly placed second. More experimental in comparison to its predecessors, the music in general inhabits a bleak, searching sound world, at times reminiscent of Sibelius at his most austere. Following an extended opening paragraph in the lower strings, with the piano initially occupying an accompanying role, the sombre mood is briefly lifted by the emergence of a beguiling, tender melody for solo piano, a stunning ray of light that folds in on itself almost as quickly as it appears. As the movement progresses, with piano and orchestra mostly in dialogue rather than confrontation, the music at times seems to hang by a thread, regressing into ethereal single lines for piano or solo violin. The ending brings a recapitulation of the two principal melodies, the first now transformed an octave higher, before subsiding into the consoling embrace of a calm piano postlude. Ein weiterer Faktor war seine instabile seelische Gesundheit. Nach dem 2. Der Einfluss Rachmaninows ist am deutlichsten im Klavierkonzert Nr. Das Klavierkonzert Nr. Es erklang erstmals in einem englisch-russischen Konzert unter der Leitung von Trevor Harvey, der Solist war Coke selber. Das Anfangsmotiv bildet zwar den Beginn von Rachmaninows 3. Klavierkonzert nach, doch insgesamt entwirft der Satz ein dunkleres Bild. Als er einmal sein 3. Don't show me this message again. Studio Master:. The son of an old Derbyshire family that traced its roots to the fifteenth century, Coke was raised by his mother Dorothy after his father died in combat early in the First World War. Following his studies, Coke returned to the ancestral home, Brookhill Hall, where his mother converted the coach house and stable block to serve as his music studio and concert hall. This remained his home and the centre of his musical activities for the rest of his life. Er stammte aus einer alten Familie, deren dortige Wurzeln bis ins
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