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572579Bk Viola EU 572579Bk Viola 15/11/2010 16:56 Page 4 572579bk Viola EU_572579bk Viola 15/11/2010 16:56 Page 4 Matthew Jones Matthew Jones is violist of the Bridge Duo (with pianist Michael Hampton) and the Debussy Ensemble. Recent recital and chamber music venues include the Wigmore Hall, London’s South Bank and the Forbidden City Concert Hall in Beijing; he made his Carnegie Hall recital début in 2008. He was also a member of the Badke String Quartet when they won the 2007 Melbourne International Chamber Music Competition, and performs ENGLISH regularly with Ensemble MidtVest in Denmark. He is greatly in demand as a concerto soloist, festival artist and contemporary music performer. Matthew is a professor at Trinity College of Music, Royal Welsh College MUSIC and Charterhouse International Music Festival, and has given masterclasses in the USA, Australia, Malaysia, Japan and throughout Europe. His extensive discography includes two Bridge Duo recordings of English music, Hilary Tann’s chamber music and Haflidi Hallgrimsson’s chamber FOR works. Born in Swansea, Wales, Matthew Jones is also a composer, conductor, mathematics graduate and teacher of the Alexander Technique and Kundalini Yoga. For more information, visit www.matt-jones.com. VIOLA Photo: Tas Kyprianou Clarke • Walton Michael Hampton Michael Hampton graduated as a major prize-winner from the Royal College of Music. In subsequent years he has continued to perform on Bridge • Bax major stages around the world – including the Wigmore Hall and Carnegie Hall – broadcast frequently on the BBC, and record, all to high critical acclaim. He works both as a soloist and chamber musician, equally at home Bliss • Holland in both instrumental and song repertoire. Vaughan Williams Photo: Tina Foster Matthew Jones, Viola Michael Hampton, Piano 8.572579 4 572579bk Viola EU_572579bk Viola 15/11/2010 16:56 Page 2 ENGLISH MUSIC FOR VIOLA recorded here were written separately between 1901 and Romance had to wait until 1962 for its première, given 1910. They have appeared in print in different versions, by Bernard Shore. Clarke • Walton • Bridge • Bax • Bliss • Holland • Vaughan Williams ranging from solo piano to full orchestra, and display Despite enjoying considerable popularity with The first half of the twentieth century saw an she had not continued to compose, she replied: ‘I can’t clearly his music’s melodic charm and elegiac warmth. several of his compositions and a successful career extraordinary change in the perception of the viola and a do it unless it’s the first thing I think of every morning Sir Arnold Bax’s Legend was given its première, writing music for the theatre, Theodore Samuel Holland corresponding increase in the number of composers when I wake and the last thing I think of every night like much of his viola music, by Lionel Tertis, whom is best remembered as a teacher of composition and writing for the instrument. At the forefront of this was before I go to sleep… if one allows too many other Bax had first encountered when studying at the Royal harmony at the Royal Academy of Music and, like Bliss, Lionel Tertis, often referred to as ‘the first virtuoso things to take over one is not liable to be able to do it…’ Academy of Music where Tertis was a member of the for positions held in British musical establishments. His British violist’, who pushed the limits of what the viola However, following the success of the Viola Sonata she string faculty. The work was commissioned by the pupils included the pianist Ronald Smith and Iris du Pré, and violists were thought capable beyond all was able, at last, to ditch the alter ego: ‘…when my American chamber music patron Elizabeth Sprague mother of Jacqueline. Holland himself had studied violin expectations. The works contained on the present disc music was beginning to be published, I killed Anthony Coolidge and begins with a powerful, bass ostinato for and composition at the Royal Academy and with were composed between 1901 and 1950 and give a Trent – officially and with no regrets – and I’ve never the piano alone. The work appears to contain far more Joachim in Berlin. His considerable output includes flavour of the diversity of compositions for viola and been bothered with him since!’ material than its duration suggests, moving in an instant works in almost all classical forms – from concertos and piano emerging in England in this period. Sir William Walton’s Canzonetta and Scherzetto from dreamlike to sinister and back, and appears to be symphonic works to cello quartets, songs and much solo ‘Perhaps in the old days people used to think it were composed in 1948 and 1950 respectively and permeated (though not as clearly as in many of his other piano music. By the mid-1930s, however, Holland’s wasn’t quite nice for a girl to compose!’ wrote Rebecca dedicated to Vivien and Laurence Olivier, frequent works) by the Irish influence that was so dear to the music was infrequently performed and he appears never Clarke in a draft of a lecture on ‘The Woman Composer visitors to the composer’s home on the Italian island of composer’s heart. to have used his influence to promote his compositions. – Then and Now’ in 1945. Having been removed by her Ischia. The first of the pieces, here presented for the first Sir Arthur Bliss, a central figure in British music The Suite for Viola and Piano was written in 1938, a parents from the Royal Academy of Music at the age of time in their viola transcription, was based on a throughout his life, played the viola and once described time when the reputation of the viola as a solo seventeen, following a marriage proposal from her thirteenth-century troubadour song by Thibaut IV, King it as ‘the most romantic of instruments; a veritable instrument was on a steep incline, largely thanks to harmony teacher, she became the first female of Navarre, which the composer happened across whilst Byron in the orchestra… its whole rather restless and Lionel Tertis and the many composers (including Bax, composition student of Sir Charles Stanford (teacher of preparing the incidental music for the film Henry V. tragic personality makes it an ideal vehicle for romantic Vaughan Williams and Bliss) who had written for him. Holst, Vaughan Williams and Bridge) at the Royal Whilst the viola melody is characterized by its lilting and oratorical expression’. Apart from his Viola Sonata, Holland uses the full range of the viola in all respects, as College of Music. Clarke was a violinist until Stanford metre and grace notes, the piano writing echoes the however, an undisputed masterpiece (the first Tertis often encouraged composers to do, and the result suggested that she try the viola, launching a successful strumming of a guitar in its harmonic support. performance of which featured William Walton as page- is an appealing, beautifully crafted work which has career as a soloist and chamber musician. Scherzetto (literally translated as ‘little joke’) is also turner, coincidentally), his only work for the instrument remained unjustly neglected. Considered one of her finest compositions, the Viola thought to be inspired by the troubadour tradition and, is the charming Intermezzo which Watson Forbes The tense opening of the Allegro vigoroso is Sonata was written in 1919 for the Coolidge like Canzonetta, makes frequent use of grace notes. The transcribed from the middle movement of Bliss’s Piano reminiscent of the beginning of the Bliss Sonata, but Competition for composition under the pseudonym opening measures in 5/8 and an unexpected silence grab Quartet (1915). Curiously, several sources refer to the subsides swiftly into one of the many lyrical duets ‘Anthony Trent’ (chosen because she liked the name the listener’s attention before the movement settles into transcription as dating from 1914, but it was not between viola and the right hand of the piano. The ‘Anthony’ and saw the River Trent on a map). The work a fast 3/8. Walton makes use of pizzicato and harmonics published until 1950. passionate, haunting Romance exploits the richness of was narrowly beaten to the prize by Bloch’s Suite for to widen the palette of colours in this humorous Discovered after the composer’s death amongst the lower range and tenderness of the higher notes of the Viola but the jury demanded to know the real identity of miniature. some of his papers, little is known about Vaughan instrument and, in total contrast, the finale combines the composer, and Clarke soon became a ‘cause célèbre’ Although Frank Bridge was himself an extremely Williams’s Romance other than that it was probably jaunty, often jazzy outer sections with a mysterious both in England and America. The outer movements of accomplished violist (most notably he was a member of intended for Lionel Tertis. Vaughan Williams’s central section. the Sonata pass through a huge array of stylistic the English String Quartet for many years), he wrote association with Tertis resulted in two large scale works influences (from Debussy to English folk-song) and relatively little for the instrument. In addition to for viola and orchestra: Flos Campi and the Suite. © Matthew Jones moods (from impetuoso to calmato via agitato) in their miniatures such as the Allegro appassionato, however, ‘fantasy-like’ structure; the middle movement is a brief, the three songs for mezzo-soprano, viola and piano and delicate scherzo. a Lament for two violas, the transcription, by Veronica Clarke only composed one other work on the scale Leigh Jacobs, of a number of short works for violin or of the Viola Sonata, her 1921 Piano Trio. Asked in a cello has given violists the possibility of indulging in BBC interview celebrating her ninetieth birthday why some of his most beautiful melodies.
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