In 1973, Sawyers joined the Royal Opera House Orchestra,
Covent Garden, whilst also freelancing with other orchestras and chamber groups
including the London Symphony Orchestra, the English National Opera Orchestra
and Bournemouth Symphony Orchestra. He also undertook teaching and coaching, including
violin coach for the Kent County Youth Orchestra.
In 1997, he left the ROH, and undertook a year of postgraduate study at Goldsmith’s College, University of London. Alongside composing, Sawyers now works as a freelance violinist, teacher, adjudicator and examiner for the Associated Board of the Royal Schools of Music.
His compositions include Quintet
for Clarinet and String Quartet (1969), Four
Poems for Flute and String Orchestra (1971), Symphonic Music for Strings and Brass (1972), Three Shropshire Songs (2006) and, more recently an Octet, an orchestral work Gale of Life, two symphonies and a Concertante for Violin, Piano, and String
Orchestra. Nimbus Alliance
www.wyastone.co.uk/catalogsearch/result/?q=sawyers have already recorded the Symphonic Music for Strings and Brass, Gale of Life and the Symphony No.1 released in 2010 (NI6129)
Now Nimbus Allliance www.wyastone.co.uk
have released Sawyers’ two violin sonatas coupled with Elgar’s late Violin
Sonata all performed by the Steinberg Duo www.steinbergduo.com
with Louisa Stonehill (violin) and
Nicholas Burns (piano).
NI 6240 |
Philip Sawyer’s
Violin Sonata No.1 (1969) is an early work that nevertheless shows
considerable compositional skills. The Allegro
opens with what appears to be a gentle melody but almost immediately turns into
a passionate theme with some fine playing from Louisa Stonehill as she weaves a
lovely theme around the piano, at times quiet and melancholy, them stridently
passionate in this fine movement, so tonally free yet melodic.
There is a haunting feel to the Andante with its dark melody occasionally rising to a stormier
nature. One can hear in this movement the dark textures that show that it had
its roots in a work for viola. The violin develops an increasingly passionate line
against the piano until quietening as it runs straight into the energetic Allegro scherzando. Occasional quiet
passages with pizzicato violin give way to the ongoing energetic nature of this
attractive movement, brilliantly played by both these artists.
This was an exceptionally fine achievement for the 18 year
old composer and which sits well against the other works on this disc.
Dating from some forty two years after the first sonata and
written for the Steinberg Duo, Philip
Sawyer’s Violin Sonata No.2 (2011) has a remarkably similar language, but
the Allegro that opens this mature
work has less of an overtly emotional feel, full of life and energy. There are
some reflective passages, but this movement has predominantly more certainty,
forcing ahead confidently. Again this duo provides some really fine playing, full
of flair, with fine ensemble and colouring of textures. As the music suddenly
recovers from a quiet pause, it drives forward to the conclusion.
Emotion is certainly not lacking in the beautiful Andante which has a wistful melody that
permeates the whole movement, with some lovely writing for the violin and
piano, richly brought out in this performance. True to Sawyers’ musical language,
the movement occasionally rises from wistful to passionate before returning to
its origins. Louisa Stonehill provides some fine textures, gently coaxing
subtle colours from her instrument. Equally fine is the contribution from
Nicholas Burns who finds so much in the quiet moments.
A little rising motif opens the Allegro finale that casts aside the melancholy of the Andante. There are many subtleties,
nevertheless, in this movement, beautifully played by the duo. In some of the
faster passages Sawyer presents his players with some technical challenges,
resulting in some terrific playing. The theme from the Andante returns before the coda.
For all its use of twelve tone writing, this work does not
sound at all lacking in melody, let alone structural cohesion, showing just how
fine and entrancing such a work can be.
Both of Philip Sawyers’ Sonatas sit well with Elgar’s autumnal work, the Violin Sonata in E minor, Op.82 (1918). The
Steinberg Duo throw themselves into the Allegro
with real gusto and terrific use of rubato. As the music slows there is a lovely
broadening out, so well highlighted by these players. It is their ability to
show the intense passion and feeling set against quieter, subtler nuances that
mark out this performance, revealing so many new facets to the Elgar. What fine
playing there is as the music leads to the movement’s conclusion.
Such perfectly turned inflections in the Romance: Andante show a wistfully playful
nature I hadn’t really heard in this work before. The Steinberg Duo, at times, have
the listener teetering on the edge of melancholy and joy. When they arrive at
the rich re-statement of the theme, what wonderful playing there is, so
sonorous and they provide a wistfully, delicate little conclusion to the
movement.
This duo takes us so naturally into the moderately paced
opening to the Allegro non troppo,
slowly building the dynamics and tempo. Soon the echoes of the second movement
appear, yet Elgar seems to fight against the melancholy and thoughtfulness,
with these players pointing up so finely
the conflict of emotions before pushing the music ahead with some lovely
playing, never missing any of the subtleties of emotional content. And as the
music slowly turns from quietly wistful to a stronger, more resolute character,
there is some truly fine playing.
Those looking for a fine performance of the Elgar with an
unusual yet extremely rewarding coupling should look to this new recording. The
recording made at The Banff Centre, Banff, Alberta, Canada is excellent.
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