I enjoyed Elgar’s Enigma Variations, ‘dished up’ by the composer himself for piano. I have bashed my way through ‘Nimrod’ on the piano on several occasions, but the rest of the score is largely beyond my Grade 6½. Arguments could go either way about the ‘validity’ or ‘need’ for this transcription. I agree with the liner notes that this version allows the listener to concentrate on the musical structure of these variations without the ‘hindrance’ of the masterly orchestration. The work can be approached with a ‘fresh intimacy.’ It will never supplant the orchestral version, but it is a pleasure to hear. It is splendidly played here by Elspeth Wylie.
Kenneth Leighton’s Elegy for cello and pianoforte, op.5 is an early work, dating from 1950 and was part of a discarded Viola Sonata (1949). It was written when the composer was only 21 years old. This was before the he studied with Goffredo Petrassi in Rome and began to assimilate Bergian serialism, neo-classicism and some post-Weberian techniques. The Elegy is characterised by a pastoral mood, which may have been influenced by Herbert Howells, Gerald Finzi or RVW. I have noted before that this work does not use folk-song and certainly is not a rustic ramble. The music is introspective and consistently lyrical in mood.
It is a pity that the liner notes do not give a date for York Bowen’s romantic Sonata for flute and piano, op.120. The listener needs to understand that this is a post-Second World War work composed in 1946. It is unashamedly romantic in effect. Clearly, this was not the direction that music was going in at that time, and one can begin to understand why it long-remained un-played. Bowen’s career straddled much musical history: he was sixteen when Elgar premiered his Enigma Variations and Elvis Presley was at No.1 in the UK charts on the day he died. It is good that this composer, once disparagingly dubbed the ‘English Rachmaninov’, is appreciated in our musically diverse era. I particularly enjoyed the ‘pastoral’ mood of the slow movement which may or may not be English in inspiration. The general feel of this work is coloured by Mediterranean hues. It was dedicated to the flautist Gareth Morris (1920-2007).
Nicholas Sackman (b.1950) is an unknown name to me. I point the reader to the Wikipedia article for further information. Unfortunately, the link to the chronological list of his works is no longer working: neither is a link to his personal webpage. The present Folio I is a set of six short piano pieces that were composed for his ‘teenage children’. It includes imaginary titles such as ‘Switchback’, ‘Jumping Jack’ and ‘Rum Baba’. They are rather fun to listen to and are, as the liner notes suggest, ‘captivating’ in effect.
The Two Sonnets by William Alabaster, op.87 (1955) for mezzo-soprano, viola and piano are beautifully and sensitively performed by Catherine Backhouse, Alexa Beattie and Elspeth Wylie. Mention should be made that Alabaster (1567-1640) was an English poet, playwright, and religious writer. Converted to Catholicism, he was imprisoned for his beliefs and reverted to Anglicanism. Listening to these beautiful songs, it is clear that Rubbra, a deeply religious man, had a great sympathy for these two poems.
As noted above, I felt that the liner notes could have given the dates of each work. I know that this information is usually available via a ‘quick’ web-search. (In the case of the Sackman, even that option failed me). Other than that, they provide a helpful introduction to each work. They include a detailed presentation of the Enigma dedications and the text for the Alabaster poem.
The performance is superb in this eclectic selection of music. Elspeth Wylie plays for all the pieces. Violist Alexa Beattie makes a fine contribution to the Rubbra. I felt that the cellist, Hetti Price engaged well with the Kenneth Leighton and Claire Overbury gave an enchanting performance of the Bowen Flute Sonata. They are my two favourite numbers on the wide-ranging and thoroughly agreeable CD.
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