This new 2 CD set has
works for viola and piano by McEwen, Bax, Maconchy, , Rawsthorne, and Leighton
as well as Gordon Jacob and Robin Milford played by Louise Williams www.louiseviola.co.uk/index.php and David Owen Norris www.davidowennorris.com .
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| EMR CD007-008 (2CD) |
Louise Williams was formerly with the Chilingirian Quartet
and the Raphael Ensemble and is currently a member of the Frith Piano Quartet. She
has also worked with the Nash Ensemble, the Takacs Quartet and the Lindsay
Quartet. David Owen Norris is well known as an indefatigable supporter of
British music as well as a fine pianist who has recorded much rare British
repertoire.
Sir John McEwen
(1868-1948) wrote his Sonata in A
minor for Viola and Piano in 1941. This is a thoroughly engrossing work
that holds the attention from its rich dark opening through dance like
episodes, an exquisite andante to a brilliantly dashing finale with music that
is shot through with a Scottish vein. Louise Williams brings a velvety tone to
the richer passages and sparkling playing in the faster sections. In the third
movement Allegretto in particular, David Owen Norris gives some beautifully
intricate playing.
There is something about Sir Arnold Bax’s (1883-1953) music that always seems to strike an
emotional chord with me. His Sonata for
Viola and Piano (1922) certainly does so in this fine performance from Williams
and Norris. There is some fiendishly difficult writing for the viola
brilliantly played by Williams and at other times an underlying haunted quality
that is brought out beautifully. A somewhat demonic allegro middle movement is
fabulously played by both artists whilst in the finale there are moments of
extreme beauty from both the violist and pianist. There is some complex piano
writing that Norris negotiates magnificently before the opening then returns to
give a satisfying end to the work.
Sir John McEwen’s
Improvisations provençales for Violin and Piano were written whilst
staying in the South of France in 1937. Conjuring up a Mediterranean feel,
these pieces make an entrancing set with opportunities for display for both the
violinist and pianist. Not one of these six pieces is without beauty or interest
especially as played by this duo.
McEwen was staying on another part of the French coast in
1913 when he wrote his Breath O’ June for
Viola and Piano, one of 2 Poems for
violin and piano for Lionel Tertis. This time it was the Atlantic coast
that provided the inspiration for this slight but attractive work.
Elizabeth Maconchy
(1907-1994) wrote her Sonata for
Viola and Piano on 1938. It is a fairly uncompromising work with a
propulsive first movement that places demands on both the violist and pianist.
Even the middle movement lento, though slower, seems to perpetuate the feel of
the first movement before the viola works its way to a more rhapsodic sounding
section with the pianist attempting to maintain the fragmented rhythmic pulse.
The presto finale is again in the mould of the opening allegro, providing cohesion
for the whole work. There are some extremely difficult passages before the work
ends for both the violist and pianist, showing what fine artists these two are,.
David Owen Norris, in his booklet notes, remarks on the
formal perfection of Gordon Jacob’s
(1895-1984) light but attractive Sonatina
for Viola and Piano (1949). Most ordinary listeners will hear an attractive
allegro, a melancholy andante expressivo and a lively allegro with a quiet sombre
coda. It is probably the middle movement andante that will linger in the mind
most of all.
The dissonance of the opening of Alan Rawsthorne’s (1905-1971) Sonata
for Viola and Piano (1937) comes as something of a shock after the Jacob
sonata. A dissonant molto allegro opening movement provides challenges for both
performers. As if the first movement wasn’t challenge enough, the following
scherzo is equally demanding with more superb playing from both Williams and
Norris. There is a dark and strange adagio before the Rondo allegro that,
whilst providing some attractive music, still has a degree of dissonance.
Some of the audience at the 1937 premiere must have wondered
where the world was heading with such music. Now we can more easily enjoy this
fascinating work played with tremendous flair.
Robin Milford
(1903-1959) wrote his Four Pieces for
Viola and Piano Op.42 in 1935, only two years before the first performance
of the Rawsthorne, yet what a difference. These very English pieces have an Air that is fresh and open, a gentle little Musette, a gently rocking Serenade and a spiky sounding Gavot . This short work has a beautiful
simplicity that is very appealing. It’s also very beautifully played.
The concluding Fantasia
on the Name Bach Op. 29 (1955) by Kenneth
Leighton (1929-1988), from its sombre opening, builds into something more
than a ‘mere’ fantasia might suggest. Leighton creates an ever evolving flow of
material rising from the adagio, through an allegro, a Chorale lento to a fugue
with a seamless flow of invention.
Both Louise Williams and David Owen Norris play wonderfully,
coping with the often demanding music with tremendous virtuosity. The recording
is exceptionally good and there are informative booklet notes. This is a lovely
set of CDs. Any lover of British music should not miss this release.
See also:
Celebrating British Music Part 1 (McEwen) http://theclassicalreviewer.blogspot.co.uk/2012/05/celebrating-british-music-part-1.html
Celebrating British Music Part 3 (Bax) http://theclassicalreviewer.blogspot.co.uk/2012/05/celebrating-british-music-part-3.html
Celebrating British Music Part 4 (Leighton) http://theclassicalreviewer.blogspot.co.uk/2012/05/celebrating-british-music-part-4.html
Celebrating British Music Part 5 (Maconchy and Rawsthorne) http://theclassicalreviewer.blogspot.co.uk/2012/06/celebrating-british-music-part-5.html
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