There needs to be a listening strategy for this exploration
of music played by Henry Holst and Frank Merrick. It begins with an acceptance
that each of these recordings were (probably) made at one sitting. There was
little chance for editing and enhancement of the final tapes. Here and there
Holst seems to be a ‘bit’ out of tune, or at least not quite getting the
intonation right (flat). This said, I guess that what will impress the listener
most is the enthusiasm and the sheer creative ‘bravery’ in laying so down many
works that were not in the public eye (or ear). On this basis, this four-CD
collection is essential listening to all who are interested in 20th
century music and its performance history. A biographical history of both artists
is easily accessible on the Internet: I will not rehearse it here.
Clearly, it is important to have the first complete recorded cycle
of Bax’s Violin Sonatas (at least as published). That said, I would not
recommend these as ‘my first choice’ for someone new to Bax.
The collection opens with Arnold Bax’s ruminative Legend.
This was completed during February 1915 in the early stages of the First World
War. Nobody knows what the actual ‘Tale’ is, but clearly it is a combination of
romantic love, melancholy and frightening visions of conflict. Bax himself
insisted that ‘this piece was always associated in my mind [with the war] …and
came straight out of the horror of that time…like so much of the second violin
sonata.’ The overall mood of this Legend
is one of melancholy: it is more a lament than ‘battle music’.
The following year finds Bax composing his Ballad for
violin and piano. He was now less concerned with the Great War and more interested
in the politics of Ireland and the Easter Rising of 1916. The music has a
seascape feel to it as well: it is a ‘stormy thing.’ There is beauty as well as
anguish here. Once again, we do not know the story behind the Ballad. It
is a complex and difficult work for both players.’
I enjoyed Henry Holst and Frank Merrick’s recital of these
two rarely heard and underrated pieces.
Colin Scott Sutherland has given a rule of thumb for
appreciating Bax’s three violin sonatas: the first two are ‘sensuous and
ornate’ and the third is ‘more austere and scored economically.’
I felt that I was in the presence of two master-craftsmen
with this recital of Bax’s Violin Sonata no.1 in E major. It was composed
between 1910-15 and was subsequently revised in 1920 and 1945. I understand
that it is the 1920 version that is presented here, although the liner notes
suggest it is the later revision. Certainly, Graham Parlett’s Bax Catalogue
(Oxford, 1999) states this to be the case. All subsequent recordings are played
from the 1945 version – Gruenberg/McCabe on Chandos, Gibbs/Mei-Loc Wu on ASV and
Jackson/Wass on Naxos. This final CD is invaluable, as it includes the 2nd
and 3rd movements from the original 1910 version.
I found Henry Holst’s tone just that little bit astringent
during much of this Sonata. Even the passionate and romantically charged
opening movement suffers from this sharpness of tone. The ‘scherzo’ is not
quite as ‘quicksilver’ as I would have liked: the recording gets a little muddy
in places. The finale is quite lovely. With its references to the opening
movement and its ‘consolatory’ mood concludes what is a remarkable performance,
despite my concerns noted above. The entire work is worthy of the beautiful
lady, Natalia Skarginski whom Arnold Bax followed across Europe to the Ukraine
in order to plead his suit.
The Violin Sonata No.2 (1915 rev.1921) was conceived
in four movements. The composer insisted that they be played without an obvious
break. The work is dominated by a single motif, which Bax also used in his
orchestral tone poem November Woods (1917). I felt that Holst’s technique
here was very brittle and quite ‘hard’ on the ear. I compared it to extracts
from the Gibbs/Mei-Loc Wu recording on ASV and confirmed my opinion. That said,
Holst does capture the angst and despair that colours this entire work. This is
no romantic rhapsody, but a deeply felt work that reflects the crisis of the
times. There are some moments when serenity seems to be reached, only to be
pushed to one side. This Sonata is characterised by the nihilism of the final
‘allegro feroce’, although this does eventually lead to a more positive
conclusion. Alas, the recording does seem to let the side down. That said, it is clearly committed and
passionate playing by both men. It is a sonata that deserves more than its less-than-tenuous
hold in the repertoire.
CD 2 opens with Bax’s Violin Sonata no.3, composed in
1927. It is constructed in two linked
movements. In the opening section Bax makes use of a ‘wayward Celtic song.’ There
is more of the Celtic twilight here than might be expected. Despite the
typically more taught soundscape there are some interludes which capture the composer’s
brooding. There is an Irish dance tune in the finale as well as
autobiographical ‘dreaming’ by Bax himself. I felt that Holst and Merrick managed
successfully to balance the diverse elements in this powerful Sonata.
Frederick Delius’s Violin Sonata (1923) inhabits the misty quasi-impressionistic
world of Ophelia, and, as Rob Barnett has suggested, Frank Bridge’s elusive There
is a willow grows aslant a brook. The
duo has given an attractive performance of this lyrical rhapsody.
The ‘andantino’ from Manchester-born composer and pianist Edward
Isaacs’s Violin Sonata in A major (1910) is hardly a masterpiece. Yet it
reflects the sentimental taste of Edwardian Britain. This work is melodically
attractive, but with a touch of melancholy. The middle section is livelier.
Merrick and Holst have convinced me that the entire Sonata deserves at least
one revival and/or professional recording.
Edmund Rubbra’s Violin Sonata no.2, op.31 (1931) contains
something quite surprising. The finale features a vibrant Iberian dance, which
is like nothing I can recall in his opus. It nods towards Bartok and Manuel de
Falla in its impact. This does not quite ‘come off’: there seems to be a lack
of passion and drive, although I have not heard this work in any other version.
The middle ‘Lament’ is truly tragic in sound.
Neither does Bernard Steven’s Fantasia on a Theme of Dowland
for Violin and Piano, Op.23 quite work for me here. Stevens has a theme (‘Can she
excuse my wrongs’) that can be realised in a forlorn mood or as a vibrant
Galliard. I appreciated this work but guess that I would turn to Kenneth
Sillito and Hamish Milne on Albany (TROY 572). That said Holst and Merrick
bring great depth to the more introverted parts of this work. Jonathan Woolf,
in his review of this collection, is correct in suggesting that here, the
duo is ‘at something less than their best.’
CD1
Arnold BAX (1883-1953)
Legend (1915)
Ballad (1916)
Violin Sonata No.1 in E major (1910-15, rev 1920, 1945)
Violin Sonata No.2 (1915, rev.1921)
CD2
Violin Sonata No. 3 (1927)
Frederick DELIUS (1862-1934)
Violin Sonata No.2 (1923)
Edward ISAACS (1881-1953)
Violin Sonata in A – Andantino (1910)
Edmund RUBBRA (1901-1986)
Violin Sonata no.2, op.31 (1931)
Bernard STEVENS (1916-1983)
Fantasia on a theme of Dowland, op.23 (1953)
Frank Merrick (piano), Henry Holst (violin)
rec. 1950s-60s
NIMBUS NI 8826
rec. 1950s-60s
NIMBUS NI 8826
The LP sources
FMS (Frank Merrick Society); LPA (Concert Artist Record)
FMS 18 Bax:
Ballad, Violin Sonata No. 2 & No. 3
FMS 19 Reger:
Violin Sonata No. 5; Suite im alten Stil; Prokofiev: Cinq Mélodies
FMS 21 Bax:
Legend; Isaacs: ‘Andantino’; Rubbra: Violin Sonata No. 2; Stevens: Fantasia
FMS 23 De
Frumerie: Violin Sonata No. 1 & No. 2; Sibelius: Violin Sonatina
LPA 1099 Bax:
Violin Sonata No. 1; Delius: Violin Sonata No. 2
With thanks
to MusicWeb International where this review was first published.
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