KAROL SZYMANOWSKI At first sight, even perhaps at a first hearing, seemed to be ‘in the air’ so to speak in there would appear to be little – if anything – France during that era. Franck’s magnificent REYNALDO HAHN to connect the Violin Sonatas of the Polish Violin Sonata of 1886 is itself the exemplar of composer Karol Szymanowski with those of the such works. Venezuelan-born naturalised French composer Reynaldo Hahn – but there is. The connecting Other, non-musical, coincidences link Szymanowski Violin Sonata in D Minor, Op. 9 Karol Szymanowski (1882-1937) musical thread, albeit a somewhat tenuous one, and Hahn. Although the former is the younger 1 I. Allegro moderato, patetico [9.34] stems from the extraordinarily original single man, and is today correctly claimed as a 2 II. Andantino tranquillo e dolce [7.45] Violin Sonata of the 19th-century Belgian-born Polish composer, he was born in the village 3 III. Finale: Allegro molto, quasi presto [5.06] master César Franck, who – like Hahn – spent of Tymoszówka, then in the Kiev Governorate much of his adult life in France, and is counted of the Russian Empire (now Tymoshivka in 4 Romance in A Major Reynaldo Hahn (1874-1947) [5.12] a master of the French school. Cherkasy Oblast, Ukraine). And Hahn, the youngest of twelve children, left the Venezuelan Sonata for Violin & Piano in C Major Reynaldo Hahn Franck’s influence runs deep in much French capital Caracas with his family at the age of 5 I. Sans lenteur, tendrement [10.06] music of the belle époch, that period of 40-odd three for France, five years before Szymanowski 6 II. Véloce [2.59] years between the end of the Franco-Prussian was born: thereafter, for all the world, Hahn is 7 III. Modéré, très à l’aise, au gré de l’interprète [9.41] war of 1870-71 and the outbreak of World War correctly considered a product of the French I in 1914. Although Franck’s influence is not school, although he did not actually become 8 Nocturne in E-Flat Major Reynaldo Hahn [6.42] to be found in operatic works, the strength a naturalised French citizen until he was 35. of this influence (to which we refer in French Nocturne and Tarantella, Op. 28 Karol Szymanowski 9 I. Nocturne: Lento assai [6.36] music as the dawn of the 20th-century) can Both men were gifted writers, and not solely 0 II. Tarantella: Presto appassionato [5.50] be rather less clearly heard in music for the on musical subjects, although the complete concert hall. Franck’s evolutionary thematic manuscript of Szymanowski’s novel Efebos was

Total timings: [69.31] transformation, amounting at times to what lost in Warsaw in World War II (just one chapter may be termed cross-thematicism (the variation has survived). Both were homosexual – Hahn’s of a single musical idea across various most famous lover being the novelist Marcel movements in a work), may have had its roots Proust. Of the two, it was Reynaldo Hahn who TAMSIN WALEY-COHEN VIOLIN in Liszt and Wagner, but was itself transformed led the more cosmopolitan existence, appearing HUW WATKINS PIANO through its use in instrumental music, which professionally in concert, as well as on disc, as www.signumrecords.com - 3 - a composer, conductor, pianist and possessor at this stage of the composer’s career had remained faithful to his interpreters: within a range of influence with a faint yet apparent of a trained and well-modulated baritone not fully absorbed those influences, which few years of the Sonata’s premiere, Szymanowski Iberian atmosphere. voice. But despite whatever Bohemian aspects are occasionally discernible, from the music planned a Violin Concerto, and sought of their daily lives might have run parallel of Richard Strauss, Alexander Scriabin and Kochański’s assistance in the layout and We might mention that Kochański went on to (there is no firm evidence they ever met), it is especially César Franck – whose evolved practicability of the solo part. In the event, enjoy a greatly significant career, later giving the quality of their music that unites them on ‘cross-thematicism’, which often used to be Szymanowski dedicated the Concerto to the premieres of a number of important works this disc. referred to as ‘cyclic’ composition, is recalled, Kochański, who not only gave the premiere of that by other composers, but his career was albeit treated in a manner more familiar from work but also composed the Concerto’s cadenza. brought to a end prematurely from cancer at Szymanowski’s sole Violin Sonata, in D Minor that of Szymanowski’s later, more individually the age of 43. During the later stages of his Op. 9, predates Hahn’s by 22 years. It was mature, style. Nor is that all with regard to either Kochański’s illness, Kochański assisted Szymanowski in composed in 1904, and is dedicated to or Rubinstein’s association with Szymanowski: the composition of a Second Violin Concerto, Bronisław Gromadzki, an amateur violinist It should not be thought that Szymanowski’s at the time the composer was writing the which was completed after his death in 1934, and close friend of the composer. Written assured and confident Sonata is a pale reflection Violin Concerto, he completed a new work for and dedicated once again, posthumously, to when Szymanowski was just 21, it remained of Franck’s earlier work, although it may be violin and piano, Nocturne and Tarantella, the violinist. Szymanowski’s Fourth Symphony, unplayed for five years until it was at last claimed that the later work would not have published as his Op. 28. This was written the Symphonie concertante for piano and taken up, and very successfully premiered, taken its cohesion and nature without the whilst Szymanowski was staying on Józef orchestra (1932), is dedicated to Rubinstein, by Paweł Kochański (later known as Paul existence of the former, or its relatively youthful Jaroszyński’s estate in Zarudzie and also in who made the first recording of the work 1952. Kochanski) and Arthur Rubinstein in Warsaw confidence from Richard Strauss’s sole Violin Ryżawka, the estate of August Iwański. It was in April 1909. Sonata Op. 18, for the themes of all three to Iwański that the work is dedicated. The For Reynaldo Hahn, the 1920s had moved far movements are very subtly related cross- composition of Szymanowski’s Op. 28 took away from the world of the belle époque into Szymanowski’s Violin Sonata falls into three thematically. Such was the success attending place during the spring and summer of 1915, which he had grown up and reached his musical movements: I – Allegro moderato, patetico; the premiere of this work that the middle although it is said to have been initially maturity at the Paris Conservatoire, whose II – Andantino tranquillo e dolce – Scherzando movement had to be encored at once. sketched in a single evening. The finished work director, Jules Massenet, encouraged him – Tempo primo; III – Finale: Allegro molto, was first performed by Paweł Kochański and greatly. Hahn later wrote that “Never, never did quasi presto. The overall shape of the work The significant impact the Sonata made, from the composer’s elder pianist brother Feliks Massenet impose his own ideas, preferences adheres to what might be termed a relatively its hugely successful premiere, played a major in Warsaw on 24th January 1920. Whilst or style on any of his pupils. On the contrary, standard ground plan, although the insertion of part in the establishment of Szymanowski as manifestly by the same composer as the Sonata he identified himself with each of them, and the 3/4-6/8 Scherzando in the slow movement a figure from whom much was expected – and Op. 9, the Nocturne and Tarantella displays one of the most remarkable features of his is a highly appealing touch. The language he did not disappoint. In turn, Szymanowski a greater individuality, and indeed a greater teaching was the faculty of assimilation he

- 4 - - 5 - showed when correcting their work.” It is not The Sonata opens with a deceptively simple near, yet so far, from the simple opening of without interest that Massenet dedicated his lyrical theme in the clearest C Major on the the work – and a simple fall to C Major brings song Petite Mireille (1899) to Hahn, writing violin, against flowing supporting triplets from us full circle in a manner that César Franck in turn of Hahn that ‘he is a man of the the piano; the deception is that, as the theme (and Massenet) would have applauded, for utmost refinement, combining with musicianship progresses, the tonality is subtly shifting, now the first subject of the first movement can the qualities of a scholar and a man of eventually arriving at the second subject in G return, ending this wonderfully lyrical masterpiece letters.’ Some idea of Hahn’s dedication to flat – the furthest possible key from C Major. in a beatific mood of completion, the final cadence. scholarship may be gleaned from his devotion Again, Hahn’s compositional subtlety is at to the operas of Mozart, and his own work in enharmonically treating G flat as What is so remarkable in Hahn’s output is widely-admired conducting of them, in an F sharp, the leading note of G, the dominant that the year 1926 saw him unveil two era which did not regard those works with of C. Thus, with what may appear to be the significant theatre works, the musical comedies the universal admiration that later generations simplest of compositional stratagems, Hahn Le temps d’aimer in three acts, and Une have bestowed. has spread the widest tonal spectrum with revue in one act, alongside two vocal concert the simplest of means – a touch that would works and of course the Violin Sonata. This We have mentioned Hahn’s wide-ranging surely not have been lost on Massenet. followed the extraordinary success of Hahn’s musical activities, and – like Massenet – he operetta Mozart of 1925, based on a factional appeared to be able to work consistently By opening with a theme of great simplicity account of the young composer’s visit to Paris under high pressure, yet a study of his many but taking it far and wide, Hahn prepares us in 1778. works shows that any feelings of intensity for further surprises, not least the second of expression, of any aspects of musical movement, a fast Scherzo in G Minor, also Hahn’s Violin Sonata is his largest work for neurasthenia, are absent. Indeed, in hearing full of quicksilver changes, preparing us for violin and piano, but among his shorter pieces such works as Hahn’s Sonata for Violin and a finale in which, we might come to expect, for the combination are Nocturne in E flat, Piano in C Major of 1926-7, composed (as the almost anything can happen – at least, in from 1906 and the Romance dating from note at the end of the published score states) harmonic and tonal terms. And so it does: in 1901 – both of which further attest to in Nice, Toulon and Paris, we may well feel this movement, Hahn takes us on the most Massenet’s view of this exceptionally gifted that Massenet’s assessment of his pupil, almost wide-ranging yet subtlest of musical journeys, and refined creative figure. 30 years earlier, was correct: the ‘utmost seemingly coming to a half close on a quiet, refinement’ Massenet divined in Hahn’s work deep G sharp underpinned by the piano: in turn, © Robert Matthew-Walker, 2015 runs consistently through the score. that G sharp is the dominant of C sharp – so

- 6 - - 7 - TAMSIN WALEY-COHEN Tamsin’s interest in contemporary music has Tamsin Waley-Cohen was born in London in have also included Shmuel Ashkenasi, Andras led her to forge strong relationships with 1986. She became a Foundation Scholar, Keller, and Ruggiero Ricci, the latter describing Described by The Times as a violinist “who composers. In addition to premiering Huw studying with Itzhak Rashkovsky, at the Royal her as “the most exceptionally gifted young held us rapt in daring and undaunted Watkins’ Concertino, and works by Richard College of Music, where she won all available violinist I have ever encountered.” performances” and by The Guardian as a Causton, Joseph Phibbs, and Torsten Rasch, prizes. Tamsin has been a regular participant performer of “fearless intensity”, Tamsin in 2015 she premieres a new concerto by at the International Musicians’ Seminar at Since 2007 she has played the 1721 ex-Fenyves Waley-Cohen enjoys an adventurous and varied Dobrinka Tabakova and a Suite for Solo Violin by Prussia Cove since she was 16. Her teachers Stradivarius violin. career. In addition to performances with Joseph Phibbs. Together with her sister, the orchestras including the RPO, LPO and BBC composer Freya Waley-Cohen, she holds an orchestras, and conductors including Andrew Open Space residency at Aldeburgh with the Litton and Tamas Vasary, she continues architects Finbarr O’Dempsey and Andrew her association with Orchestra of the Swan, Skulina, for a project exploring the relationship returning as “Artist in Residence”. Performances between sound and space. have taken her across the UK, Europe, to the USA and the Antipodes, and she has been Her love of chamber music led her to form named an ECHO Rising Star artist for the the Honeymead Ensemble (resident at the 2016/17 season. Tricycle Theatre in London) as well as the Honeymead Festival on Exmoor. She is also In demand as a recitalist, Tamsin enjoys Artistic Director of the Sunday Series at a duo partnership with pianist and composer London’s Tricycle Theatre, for which she was Huw Watkins, with whom she has recorded named one of Evening Standards 1000 most three previous CDs, “An American in Paris”, influential Londoners and she was Artistic “1917”, and Mendelssohn’s Double Concerto Director of Music at the Bargello Chamber and D Minor Concerto. She has also recorded Music Festival in Florence, Italy in 2011-2012. Vaughan Williams’s The Lark Ascending and She recently joined the acclaimed London his Violin Concerto. Her recent disc, SOLI, is Bridge Ensemble, with whom she appears of solo violin works written after 1944. She regularly and has recorded the Dvorak piano is a Signum Classics Artist. quartets with Gary Pomeroy for the Champs Hill label. © Patrick Allen

- 8 - - 9 - HUW WATKINS

Huw Watkins was born in Wales in 1976. He studied piano with Peter Lawson at Chetham’s School of Music and composition with Robin Holloway, Alexander Goehr and Julian Anderson at Cambridge and the Royal College of Music. In 2001 he was awarded the Constant and Kit Lambert Junior Fellowship at the Royal College of Music, he now teaches Recorded in Saffron Hall, Saffron Walden, Essex, UK from 1st to 3rd April 2015. Producer & Editor – Nicholas Parker composition at the Royal Academy of Music. Recording Engineer – Mike Hatch Recording Assistant – Robin Hawkins

Huw is the UK’s foremost composer-pianist Cover Image – © Patrick Allen in great demand with orchestras and festivals Tray Image – © Benjamin Ealovega including the London Sinfonietta, Britten Design and Artwork – Woven Design www.wovendesign.co.uk Sinfonia, the BBC orchestras, and Aldeburgh P 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd © 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd and Cheltenham Festivals. Strongly committed to the performance of new music, Huw has Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. given countless premieres of works by No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, composers such as Alexander Goehr, Peter recording or otherwise, without prior permission from Signum Records Ltd. Maxwell Davies, and Mark-Anthony Turnage. SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] He is perfectly placed for projects such as www.signumrecords.com his recent presentation of a programme of Hans Werner Henze’s piano works at the © Benjamin Ealovega BBC’s Total Immersion day at the Barbican. Huw has also established strong connections include recitals in the UK and further afield in with Tamsin Waley-Cohen, Paul Watkins, Mark Italy, USA and Canada. Padmore, Alina Ibragimova, James Gilchrist, and Carolyn Sampson. Recent appearances Huw is Composer-in-Association with BBC NOW.

- 10 - - 11 - ALSO AVAILABLE on signumclassics

1917: Works for Violin & Piano SOLI: Works for Solo Violin Tamsin Waley-Cohen violin Tamsin Waley-Cohen violin Huw Watkins piano SIGCD416 SIGCD376

“... a wonderfully subtle, introspective and touching performance.” “Seventy-seven minutes of unaccompanied violin, and strenuous The Guardian modern repertory at that, may make this disc a daunting prospect, but Waley-Cohen’s devotion to her cause is palpable, and her “Waley-Cohen plays with an obvious love of the music, most interpretative flair likewise. This is a sequence (beginning sympathetically accompanied by Watkins. Fine sound, with an with Bartok’s full-dress, Bach-inspired Sonata) bursting with excellent sense of presence and clean separation.” vitality; and the choices, all interesting, compose a little map of Gramophone modernism.” The Sunday Times

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

- 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD432 BLACK Job Title: TAMSIN

SIGNUM CLASSICS SIGCD432 $+(%,32&'(0,$" +2'%(!!' Works for Violin & Piano ,32&'(0,$"a!!'0%2 (!'a0-$"',

Violin Sonata in D Minor, Op. 9 Karol Szymanowski (1882-1937) 1 I. Allegro moderato, patetico [9.34] 2 II. Andantino tranquillo e dolce [7.45] 3 III. Finale: Allegro molto, quasi presto [5.06]

4 Romance in A Major Reynaldo Hahn (1874-1947) [5.12]

Sonata for Violin & Piano in C Major Reynaldo Hahn 5 I. Sans lenteur, tendrement [10.06] 6 II. Véloce [2.59] 7 III. Modéré, très à l’aise, au gré de l’interprète [9.41]

8 Nocturne in E-Flat Major Reynaldo Hahn [6.42]

Nocturne and Tarantella, Op. 28 Karol Szymanowski 9 I. Nocturne: Lento assai [6.36] 0 II. Tarantella: Presto appassionato [5.50]

,32&'(0,$"a!!'0%2 (!'a0-$"', Total timings: [69.31]

-&,"'0%2 (!'VIOLIN !.00-$"',PIANO LC15723 Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD432

CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2015 Signum Records DDD SIGCD432 © 2015 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 04322 6 SIGNUM