I began my exploration of this fascinating
CD with the last work, William Alwyn’s Sonatina for violin and piano. This was
composed in 1933 when Alwyn was 28 years of age. It was first heard two years
later in the Duke’s Hall at the Royal Academy of Music as part of a series of
concerts featuring new music. The work
received a premiere recording on Naxos (8.570340) in 2007 and was not published
until 2010. The Sonatina is presented
(like all the works on this CD) in three movements. The opening ‘allegro e grazioso’ is a
delight. This has a memorable main tune, with an equally unforgettable
‘prelude-like’ piano part. The contrasting mood is wistful. There is certainly
a touch of the French muse about this music. The middle ‘adagio’ is more
pensive and reserved than might be expected in a sonatina. It is brittle and
unruffled without being too intense. The finale is exciting, combining a waltz,
a gigue and lots of rhythmic variety. The entre work is a subtle balance
between Alwyn’s natural penchant for romantic music and a more neo-classical
mood.
Like many listeners of my generation, I first came
across Jean Françaix in the 1970s when a movement from his delightful ‘L’Horloge’
for oboe and orchestra introduced Robin Ray’s Review on Radio 3. (I am sure I
am correct about this, but I could be wrong!). Since then, I have only come
across a handful of pieces from his pen. I think his style was basically
neo-classicist with a modern twist: he did not indulge in avant-garde
explorations. Most of the works that I have heard are characterised by
fun, vibrancy, wit and some nods to a deeper and sadder mood. In fact, as a
composer he is right up my street: I should spend more time getting to know
hum.
The present Violin Sonatina is a case in point.
This is an urbane work that has all the above-mentioned characteristics. The
opening ‘vivace’ is vibrant, ‘sparky’ and almost tearaway in its headlong
progress. The second movement alternates violin and piano interludes. It is
reflective and ultimately ‘blue’. However, all the vibrancy is restored with an
idiosyncratic theme and variations. Jean Françaix’s Sonatine was composed in
1934.
I turned to the opening track, the Violin Sonatina
by Lennox Berkeley. This was written in 1943 and was dedicated to Gladys Bryans
with whom the composer and his friend Benjamin Britten had stayed whilst on a
working ‘holiday’ in Gloucestershire. This is a piece that is approachable,
despite being written in what was then a relatively modern style. Berkeley has
used a standard ‘sonata’ form in the opening ‘moderato’. The two subjects are
easy going with nearly all the drama being presented in the development
section. All this, in just under five minutes. I enjoyed the brief ‘lento’
which presents a pensive theme which is quickly developed into a considerable
climax. All ends as it started. The finale is an absorbing theme with five variations
which present complex mood changes. This includes a charming tune, a scherzetto
and a quirky waltz. The movement ends peacefully with a recapitulation of the
original theme.
Cheryl Francis-Hoad’s Violin
Sonatina began life as a cello work she wrote in 2011 called ‘Songs and Dances.’
The liner notes explain that the composer has reversed the usual progress of
fast-slow-fast movements in a sonatina to give a slow-fast-slow structure. The
opening is played ‘quietly dignified’ and lives up is descriptions. In fact,
this is slow, reserved and introverted music that certainly does provide ‘space
and grandeur.’ The ‘scherzo’ on the other hand is a little piercing on the ears
due to considerable use of violin harmonics. Fortunately, the ‘trio’ section comes
back down to earth. The ‘finale’ largely recaptures the reticent mood of the
opening movement. The entire work is characterised by rhythmic diversity and a
rather tentative (deliberate) exploration of the material by both performers.
On the other hand, the Sonatina closes with a massive coda and a resounding C
major chord. Notwithstanding the
‘harmonics’ I enjoyed this work and appreciated its imagination and
thoughtfulness. Despite the title, this 16-minute work is a powerful, dynamic
and often moving contribution to the violin and piano repertoire. For
information on Cheryl Francis-Hoad, see her excellent website.
I know very little of Jean
Sibelius’s chamber music. Just glancing at the catalogue suggests that there is
plenty to have a go at. I guess that my listening has concentrated on his seven
symphonies and evocative tone-poems. The present Violin Sonatina began life as
a Sonata. His diary for Christmas Day explains that the idea had been with him
for several years, in fact, since the 1880s when he had produced a couple of
examples of the larger genre. The present work was completed three months later.
The composer wrote that working on the piece reminded him of his youthful imaginings:
‘Dreamed I was twelve years old and a virtuoso. My childhood sky was full of
stars – so many stars.’ This is reflected in music that is predominantly
classical in form, but not necessarily harmonically. Despite the bright key (E
major) chosen for this piece, the musical language can be unsmiling in places.
The middle movement is serious and reflects the difficulties, both financially
and artistically that Sibelius was facing at this time. Yet, the finale blows
all this sadness away. After a morose ‘lento’ the music turns to dance which
seems to be a return to winter dreams, jingling sleigh bells and all.
I first came across Gordon Crosse
in 1973. I found a review copy of his impressive choral piece Changes. It had been released on an old
Argo LP (ZRG-656, now re-released
on Lyrita SRCD.259, 2007). Since then, I have tried to hear as much of his
music as possible, although that has been quite difficult as there are
relatively few CDs available and I have rarely come across his work in the
concert hall. (Although do look at Soundcloud/Crosse)
The present Violin Sonatina is dedicated
to the present soloist, Fenella Humphreys. It was written after Crosse had
heard her play and it arrived on her ‘doormat’ two weeks later. I understand
that he mined discarded works for some of the material. The opening movement
contrasts slow music with ‘dramatic and confident’ passages. The effect is edgy
and nervous. This is followed by a ‘lament’ which explores a ‘Scottish’ theme
on the solo violin, soon followed by a ‘chilled’ walking bass piano part. The third
movement, ‘Caprice-Finale’ was derived from a piece for recorder and piano
which had ruminated on Emily Dickinson’s poem ‘Hope is a thing with feathers…’
This is a balance between uneasy, high pitched violin phrases and a slightly more
relaxed piano part.
Gordon Crosse is a composer who
appeals to me: his music is sometimes challenging and always fascinating. This
Violin Sonatina is no exception.
The playing by Fenella Humphreys
(violin) and Nicola Eimer (piano) is superb. I can well understand why Crosse
was so impressed. The recording of these six sonatinas is ideal. The liner
notes, written by Nicola Eimer gives all the required details to aid enjoyment.
There is brief biographical note about the soloists. I did find the font a bit
small and needed my magnifying glass. I was unable to find a .pdf file online:
if only all record companies would oblige us with this important, but often
ignored service.
Finally, this is a well-chosen selection
of music. I enjoyed every piece, and hope that the duo will revisit the British
(and French) repertoire soon.
Track Listing:
Lennox BERKELEY (1903-89)
Sonatina for violin and piano, op.17 (1942)
Jean FRANCAIX (1912-97)
Sonatine for violin and piano (1934)
Cheryl Frances-HOAD
(b.1980) Sonatina for violin and piano (2011)
Jean SIBELIUS (1865-1957)
Sonatina in E major, op.80 (1915)
Gordon CROSSE (b.1937)
Sonatina for violin and piano (2010)
William ALWYN (1905-85)
Sonatina for violin and piano (1933)
Fenella Humphreys (violin), Nicola Eimer (piano)
STONE RECORDS
5060192780826
With thanks to MusicWeb International where this review was first
published.
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