London Nights: British Piano Music played by Franziska Lee

Michael Tippett’s remarkable Sonata No.1 for piano could have done with an explanation in the liner notes. Despite it being an early work, completed in 1936-7, it is Tippett’s first composition that is critically acclaimed as being stylistically integrated. It was originally entitled Fantasy Sonata, reflecting the wayward first movement not conforming to traditional “sonata form.” 

The impetus behind this Sonata was Tippett’s wish to write a music that “was to be clean and clear in tone and texture, a sort of modern Scarlatti creation,” whilst “[steering] clear of a heavy, Germanized and too serious work.”

It opens with a set of variations which never take themselves too seriously. They are replete with “rhythmical pranks.” The slow movement is a gorgeous meditation on the well-known Scottish tune “Ca’ the Yowes, to the Knowes.”  It is the emotional heart of the piece. Then follows a tightly constructed, Beethovenian Scherzo. The finale is a rondo. Here Tippett introduces elements of American popular music including the cakewalk and blues. This work can be summed up well by the words of an unknown listener in 1941: “The Sonata is a delightful composition. Truly pianistic, witty and good music all through.”

It was dedicated to the English author and musician, Francesca Allinson. She was Tippett’s friend and confidante and had an unconsummated romantic relationship with him. The Sonata is given an exhilarating and well-studied performance by Franziska Lee.

The Holiday Diary, op.5 written by Benjamin Britten in 1934 is programmatic to say the least. It is full of boyish fun and high spirits, but also some surprisingly mature reflection. The titles evokes a pre-war holiday at the seaside. The first movement, a romp, is Early Morning Bathe, full of shivers and splashing waters. This is followed by the typically calm Sailing, although the middle section reflects choppier weather. The Fun-Fair is a virtuosic toccata, interrupted by several contrasting episodes. The final piece is a nocturne simply entitled Night. The Diary is based on recollections of Britten’s days at Lowestoft or Great Yarmouth, rather than Benidorm!

Frank Bridge’s Three Sketches were completed in 1906 and published soon after. The most popular number is the second, Rosemary, which is “for remembrance.” This is a deliciously romantic piece of music which bewitches the listener. The first number, April, is delicately brilliant, the magic here is nervous, presenting chromatic passages and an exercise in arpeggios. The final Valse Capricieuse is less flighty, and more wistful than the title would suggest. The entire suite belongs to Bridge’s period of Edwardian romanticism before he “discovered” impressionism and then moved into his more dissonant (Bergian) modernist phase. Yet, the overall impact of the Three Sketches is greater than just salon music. There is much here that touches the heart and informs the head.

The Ballade of London Nights was not originally part of Ireland’s canon of works. The fact is, he never completed the Ballade: the manuscript was found in a drawer. It was finished by Alan Rowlands and was premiered by him on 6 June 1965. The music is part of Ireland’s response to the Capital City. Other works inspired by the Metropolis include the well-known London Pieces (Chelsea Reach, Ragamuffin and Soho Forenoons) and the Comedy Overture with its musically onomatopoeic “'Dilly! Pica-dilly!” The Ballade lasts for about seven minutes, during which time it has explored diverse moods. These range from tranquil, dreamy music to “a shattering bitonal cascade traversing several octaves.” It has been suggested that the programme behind the piece may depict a night on the town in Soho followed by a late-night walk along the river to Chelsea. Yet, I can hardly imagine Ireland hitting the heavy end of town. Whatever the inspiration, it represents John Ireland’s love-hate relationship with the city. It is imaginatively played here, with great contrast between the emotional underpinnings of this de facto tone-poem.

Background information would have been helpful for approaching Arnold Bax’s Sonata No.1 in F sharp minor. For one thing, not unusually for this composer, a woman was involved. In 1910, Bax had gone to the Ukraine in pursuit of a Russian lady, Natalia Skarginska, who he had fallen madly in love (or infatuated) with. The relationship came to nothing, he returned to London. Lewis Foreman has suggested that it is not a picture post card impression of Russia but reflects the Bax’s despair about losing Natalia’s affection to another. Sadly, after her marriage, she died from typhoid.

The formal construction of the Sonata nods to Franz Liszt and the musical language owes much to Scriabin and Balakirev. The overall mood is one of distress, violence, and despair, rather than tenderness. The ending is a marvellous recreation of the Easter bells in St Petersburg.

The work was revised over a period and was renamed on several occasions. Graham Parlett has noted the titles Romantic Tone Poem, Sonata, Symphonic Phantasy, Sonata again and finally Sonata in F# minor. The present performance is stunning.

I have alluded to the lack of information about the works featured in this recording. The CD insert gives a brief resume of the soloist’s career in three languages but no details about the music. I was unable to find any downloads of an expanded booklet. All the music on this disc needs some gentle introduction. The record company cannot expect the putative listener to have a selection of reference materials available to allow them to get to grips with this vital music. Here it is a case of spoiling the ship for a ha’p’orth of tar.

The playing in this recital is remarkable. Franziska Lee is truly enthusiastic and sensitive towards 20^th century British piano music. For details of her career, see her webpage. I know all the pieces recorded here well: the present soloist has provided me with new insights and given me considerable pleasure.

Track Listing:
Michael TIPPETT (1905-1998)
Sonata No.1 for piano (1936-38, revised 1942)
Benjamin BRITTEN (1913-76)
Holiday Diary, op.5 (1934)
Frank BRIDGE (1879-1941)
Three Sketches for piano, H.68 (1906)
John IRELAND (1879-1962)
Ballade of London Nights (op. posth.) (1930)
Arnold BAX (1883-1953)
First Sonata in F sharp minor, GP 127 (1910, revised 1917-21)
Franziska Lee (piano)
Rec. 22, 24 September 2020, Wolfgang-Rihm-Forum, Hochschule für Musik Karlsruhe, Baden- Württemberg, Germany
CAPRICCIO C3010
With thanks to MusicWeb International where this review was first published.