Special offer. Origins
Ivana Gavrić (piano)
Gavrić plays all [the solo works] with clarity, supple grace and a finely shaded colour palette. But it’s the pair of concertos that bookend the programme that are its true heart...The evocative...
Special offer. Origins
Ivana Gavrić (piano)
Purchase product
Gavrić plays all [the solo works] with clarity, supple grace and a finely shaded colour palette. But it’s the pair of concertos that bookend the programme that are its true heart...The evocative...
About
“The idea for this album came about some years ago when I attended a performance of Haydn’s Piano Concerto No.11 in D. While reading the programme notes, I was struck by the suggestion that the concerto’s finale, Rondo all’ungarese, despite its title, was thought to be based on a Croatian or Bosnian folk melody. This got me very excited, due to my heritage: I was born in Sarajevo, a small city that is a melting-pot of cultures, nationalities, architecture, arts, history and humour. The region’s culture is incredibly rich and diverse, and I am always keen to celebrate this.” - Ivana Gavric
Haydn’s famous ‘Hungarian rondo’ finale to his piano concerto in D may not be Hungarian but from another part of the Habsburg empire - might its origins be Bosnian or Croatian? This concerto, together with solo piano works in homage to Haydn by leading French composers, frame the world premier recording of Cheryl Frances-Hoad’s piano concerto, which takes the traditional Bosnian folk song Kad ja pođjoh na Bentbaša, Bosnian folk tales and the Haydn as its inspiration.
This album bridges the folk songs of Ivana’s childhood to the music of her professional life and reflects her varied heritage.
Contents and tracklist
- Ivana Gavrić
- Southbank Sinfonia
- Karin Hendrikson
- Ivana Gavrić
- Southbank Sinfonia
- Karin Hendrikson
- Ivana Gavrić
- Southbank Sinfonia
- Karin Hendrikson
Spotlight on this release
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Awards and reviews
January 2020
Gavrić plays all [the solo works] with clarity, supple grace and a finely shaded colour palette. But it’s the pair of concertos that bookend the programme that are its true heart...The evocative opening movement [of the Frances-Hoad] often brings to mind Britten at his painterly best...this is a gripping performance, thanks in large part to Karin Hendrickson’s sure and sensitive conducting of the Southbank Sinfonia.
