Resonance
Mieczysław Weinberg (1919-1996)
Concerto, Op 94 (1966-67)
Christoph Schönberger (b. 1961)
Trumpet Concerto (2016, 2021-22)*
Serge Rachmaninov (1873-1943)
Vocalise, Op 34, No 14 (1915)
Alexander Goedicke (1877-1957)
Concert Study, Op 49 (1936)
arranged by Lee Reynolds**
Matilda Lloyd (trumpet)
London Symphony Orchestra/Lee Reynolds 
rec. 2023, Henry Wood Hall, London.
*premiere recording
** premiere recording of this arrangement 
Chandos CHSA 5339 [63]

Here is an intriguing release featuring an eclectic range of compositions for trumpet and orchestra from the past hundred years. The choice of repertoire is engaging and individual and the playing is uniformly fine, if not quite as inspired as it could be.

Weinberg’s earlier music was heavily indebted to Shostakovich, but by the time of this concerto he was forging a much more personal musical voice. The work is played well; trumpeter Matilda Lloyd has a lovely, if somewhat undistinctive tone, and the orchestral playing is accurate and precise. I was, however, left wanting a degree more abandon and even violence in some of Weinberg’s dramatic gestures. A greater incisiveness and drive would have elevated this performance beyond being merely well-played and accurate, but these reservations apply more to the first movement than the second, which is more subdued and benefits from a subtler approach. The third, starting with an interrupted quotation of Mendelssohn’s Wedding March of all pieces, is again less extroverted.

The Schönberger concerto was written recently, started in 2016, but in many ways it sounds like an older work than the Weinberg, with obvious late-Romantic roots. It’s an attractive piece, though I felt somewhat underwhelmed by the end. There is a cinematic feel to the work that some may well enjoy but which, at times, sounded contrived and unimaginative. The orchestration is skilled, with some beautiful effects, and those who enjoy rich, lyric melodies will find great satisfaction in the molto adagio. But if you’re looking for a more insightful or inventive, modern take on the trumpet concerto, then I’d suggest looking elsewhere. For those wanting something a bit more distinctive, I’d recommend Olga Neuwirth’s …miramondo multiplo…, an exciting combination of classical, jazz and avant-garde styles.

Rachmaninoff’s Vocalise is well-played, sculpting a beautiful line with a round, attractive singing tone. It does not erase memories of Anna Moffo’s gorgeous rendition under Leopold Stokowski, but there’s no denying that the trumpet is better suited to this difficult, sustained melody. Many other vocalists who have attempted it have fallen victim to its demands—a round, pure tone and immaculate breath support. 

The brief Concert Study by Alexander Goedicke finds both soloist and orchestra in a more exuberant mood than in the other works on the album and it proves to be a fun and effective close to the album. Lee Reynolds’s own arrangement is very enjoyable. 

As expected, Chandos’ sound quality is very good. Though, I do wonder if part of the incisiveness that I miss from the playing in places could be down to the sonics, which tend just a bit further towards the warm and ‘flat’ side than I might have liked. Never mind; everything is clear and well-captured and so the sound should not prove an issue for any but the most discerning listener. 

Morgan Burroughs

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