The new release is entitled Reflections, a title drawn from two of the works on the works
included, Relections, for Viola and Piano
(1930) and Lachrymae: Reflections on
a Song of Dowland for Viola and Piano, Op.48 (1950). The performers here
are Matthew Jones (violin/viola) www.matt-jones.com
and Annabel Thwaite (piano) www.annabelthwaite.com
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It is Britten’s Suite for Violin and Piano, Op.6 from1934/35 that opens this disc with an Introduction: Andante maestoso where strident phrases from the violin, before the piano joins, in this opening statement, before leading to the March: Allegro alla Marcia, a whimsical little motif for violin and piano, interrupted by sudden dissonant chords on the violin and staccato piano chords. The Moto perpetuo: Allegro molto e con fuoco has an insistent violin motif over a dancing piano motif which receives some terrific playing from Matthew Jones and Annabel Thwaite in this often astringent section. Annabel Thwaite picks out a melody of the Lullaby: Lento tranquillo as Matthew Jones’ violin gently appears with the melody proper, an exquisite little theme, exquisitely played. The piano has the theme halfway through against held violin chords. A lively bouncing waltz theme, Waltz: Alla valse – Vivace e rubato, concludes with the theme varying throughout often becoming quite wild.
Reflection, for Viola
and Piano (1930) marked, Andante ma con moto, has a quiet, moody
opening for the piano before the viola’s dark tones enter in this work, originally
merely titled Piece for Viola and Piano.
Its apt title, Reflection, was only
given to it when published. It rises to a passionate, anguished central section
before quietening to a hushed coda. This is an extremely fine early work.
Marked Andante –
rubato e pigro, Reveille: Concert
Study for Violin and Piano (1937) opens quietly on the piano before the
violin joins weaving an often drooping melody over the carefully insistent
piano accompaniment. Slowly the violinist develops the strange melodic line
with odd violinistic effects, terrifically played by Matthew Jones. The violin
suddenly leaps up in a frantic rush to end the piece.
With Elegy, for
unaccompanied Viola (1930) Matthew Jones produces some fine sounds as the
piano develops from its quiet Poco lento opening
and becomes more passionate. There are also some exquisitely poetic moments in
this fine work, so brilliantly played by Matthew Jones.
The first of the premiere
recordings comes with Two Pieces for
Violin and Piano written in 1931 when the composer was 18 years of age. The Moon: Andante comodo has a lovely flowing melody for violin and piano which
slowly unfolds, quite melancholy and reflective. Going Down Hill on a Bicycle (A Boy’s Song): Allegro giocoso is a
riotously inventive piece that receives some terrific playing from this duo.
Another premiere recording is the Etude, for Solo Viola and dates from 1929, when Britten was just
fifteen years of age. Marked Allegro e
molto vivace it provides quite a work out for the violinist. Though it is
often quite an academic sounding piece it, nevertheless, is fascinating to hear
and brilliantly played by Matthew Jones.
Frank Bridge
(1879-1941) was Britten’s teacher and for many years seemed to be doomed to
be remembered for nothing else. He was a very fine composer whose works have
received a greater exposure in recent decades, mainly from recordings. Probably
Bridge’s best known orchestral work is There
is a Willow Grows Aslant a Brook which is performed here in Britten’s effective arrangement for
viola and piano made in 1932, the viola having just the melancholic quality for
this piece, a version I will return to, especially as so finely played here.
Valse in B minor, for
Violin and Piano (1925) is the third of the premiere recordings on this
disc and was sketched out when Britten was only 10 years old and arranged for
violin and piano two years later. It brings a certain childlike charm, with
some of the writing sounding as though it was somewhat falteringly worked out. These
players do not dress it up but allow it to speak for itself, on its own terms.
Lachrymae:
Reflections on a Song of Dowland for Viola and Piano, Op.48 (1950) takes us
to the other end of Britten’s compositional life. He originally wrote Lachrymae,
for viola and piano in 1950 but towards the end of his life he arranged it for
viola and small string orchestra as Op. 48a. It is subtitled ‘Reflections on a
song of Dowland, and, indeed, the earlier composer remains pretty well veiled
until toward the end of the work. There is some beautifully sensitive playing
here as Britten weaves around Dowland’s theme as well as some impressively
accomplished playing from Matthew Jones and Annabel Thwaite. It is a lovely
moment when Dowland’s theme finally is revealed towards the end.
All Britten enthusiasts and lovers of British music will
want this finely played new disc. The recording, made at Wyastone Hall,
Monmouthshire, is very detailed and there are excellent booklet notes from Matthew
Jones.
See also:
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