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NI 6334 Financial support from the following is gratefully acknowledged: The

Canterbury Christ Church University The Trust Stanford The Stanford Society Legacy Martin Outram, Julian Rolton, piano

For further information please visit www.martinoutram.com www.wyastone.co.uk The Stanford Legacy Martin Outram, Viola • Julian Rolton, piano

Charles Villiers Stanford (arr Henry Waldo Warner): Sonata for Viola and Piano op 129 master classes of such eminent singers As an adjudicator Julian sat on the jury 1. Allegro moderato 7.10 as Galina Vishnevskaya, Phyllis Bryn- of the Charles Hennen International 2. Caoine: Adagio (quasi Fantasia) 6.14 Julson and Anthony Rolfe Johnson. He Chamber Music Competition in Holland. 3. Allegretto grazioso 5.50 has performed extensively with the violist Julian Rolton is a music teacher at Michael Rebecca Clarke: Sonata for Viola and Piano Martin Outram and for Naxos they have Hall Steiner School in East Sussex. 4. Impetuoso 7.40 made celebrated recordings of works by 5. Vivace 4.00 Rawsthorne, Bliss and , and 6. Adagio 11.20 a disc titled, ‘The English Viola’. Further John Ireland (arr Martin Outram): acclaimed CD’s have been released on Sonata for Viola and Piano Nimbus Alliance. 7. Allegro leggiadro 9.44 Julian was a member of the Chagall Trio 8. Romance: In sostenuto quasi adagio 9.56 which released an acclaimed premiere 9. Rondo: Allegro sciolto assai 6.21 recording of works by Ethel Smyth on Total playing time 68.15 Meridian and a disc of contemporary piano trios entitled ‘Borderlands’ on Campion Cameo which attracted Recorded at Wyastone Hall, Monmouth between 21-23 July 2015. Producer & editor: Andrew Walton Sound engineer: Mike Clements exceptional reviews. Cover photograph: Melanie Strover www.classicfotos.co.uk Booklet design: www.doubletakedesign.co.uk This release made under license to Wyastone Estate Limited P & © 2016 2 11 Charles Villiers Stanford (1852-1924) is recollected of his teacher Carl Reinecke: remembered as one of the most influential ‘Of all the dry musicians I have ever known musicians of the late-nineteenth and he was the most desiccated. He had early-twentieth centuries. He wrote no not a good word for any contemporary Julian Rolton fewer than seven symphonies, ten operas, composer... He loathed Wagner... sneered many songs, thirty large scale choral at Brahms and had no enthusiasm of any A highly versatile musician, Julian Rolton works and around twenty chamber music sort’. is equally at ease as a soloist, pieces. Stanford’s background was very Having been appointed Professor of chamber musician and accompanist. accomplished musically. His father, a Composition at the Royal College of Julian has worked with the Calgary lawyer by profession, was one of Dublin’s Music in 1883 and Professor of Music at most prominent amateur musicians during Philharmonic Orchestra in Canada, Cambridge University in 1888, Stanford the 1840s. Stanford senior befriended performed by Britten, taught many of the leading British Mendelssohn and Sir William Sterndale Shostakovich and Strauss in the South composers of the day. To name but a few, Bennett and appeared frequently as a these included , , Bank Centre, and with Martyn bass singer and cellist. Stanford’s mother’s , and Brabbins and Sinfonia 21 at the Ars abilities were such that she was the soloist the other two composers represented on Musica Festival in Brussels. He has in a performance of Mendelssohn’s First this disc, John Ireland and Rebecca Clarke. appeared at festivals in Aldeburgh, with the Dublin Musical Another pupil, Edgar Bainton, remembered “the excellent pianist, Cambridge, Warwick, Peterborough, Bath Union. Stanford’s teaching style thus: ‘Stanford’s and Oxford. Julian Rolton, manages Stanford studied Classics at Cambridge teaching seemed to be without method or With the mezzo-soprano Helen Lawrence, University and served as organist at Trinity plan. His criticism consisted for the most the fiendishly elaborate he recorded an acclaimed CD of Russian College. Sterndale Bennett, Principal of the part of, “I like it, my boy,” or, “It’s damned , advised him to ugly, my boy” (the latter in most cases). piano writing effortlessly song in celebration of Pushkin’s bi- study in Leipzig at the famous Hochschule In this, perhaps, lay its value. For in spite centenary; whilst at the Britten-Pears in a grand finale” established by Mendelssohn. This did not of his conservatism, and he was intensely School in Snape he has played for the BBC MUSIC MAGAZINE prove to be particularly inspiring; Stanford and passionately conservative in music as

10 3 in politics, his amazingly comprehensive sent him he began to dissect them with Maconchy Romanza with the Ambache Nimbus labels. Their performances have knowledge of musical literature of all nations fascinating accuracy and justice. I could Chamber Orchestra and the Dale Romance included recitals at many international viola and ages made one feel that his opinions, see why he was considered the finest with conducting. Martin congresses and Martin has served on the however irritating, had weight’. Herbert composition teacher in England and I was gave the first European performance for jury for the International Viola Howells stated that, ‘...corner any Stanford enthralled’. seventy-five years of ’s Viola Competition. His recording of all the music pupil you like, and ask him to confess the It is well known that Stanford had huge Concerto, with Ronald Corp and the New for viola and piano by Bax with Julian Rolton sins he most hated being discovered in by respect for the music of . London Orchestra. He has played the attracted a five-star review in the BBC his master. He will tell you “slovenliness” As Musical Director of the Cambridge Britten Lachrymae many times at home and Music Magazine and their discs of English and “vulgarity”. When [students] went University Musical Society, Stanford gave abroad with the Britten Sinfonia and toured Viola Sonatas, all the viola music of Britten into the teacher’s room they came out, notable British premieres of his works, Mozart’s Sinfonia Concertante together with and Bridge and a CD featuring the legacy badly damaged. Against compromise became his friend and was instrumental Tasmin Little as fellow soloist. He has also of the great Scottish violist Watson Forbes with dubious material or workmanship in inviting him to England (an invitation appeared as a soloist in South America, have also received similar outstanding Stanford stubbornly set his face.’ Vaughan which was initially accepted but never performing in Argentina and Brazil. Recently praise internationally. Williams declared, ‘Stanford was a great realised). When Stanford wrote his Sonata his peformances of the Bartok Concerto teacher, but I believe I was unteachable’. for Clarinet and Piano Op.129 in 1911, Martin Outram is a Fellow of the Royal and the Mozart Sinfonia Concertante with When John Ireland presented Stanford it would appear that again Brahms was Academy of Music, where he has been with a string quartet he had written in in his mind. Structurally the work follows Julian Leaper have been highly acclaimed a professor since 1984. He is also an 1895 never having received a composition the broad outline of Brahms’s Eb sonata and another highlight was his world Honorary Fellow of Canterbury Christ lesson, Stanford’s response was,”Dull as for clarinet op120 no.2, being in three premiere performance of Stuart MacRae’s Church University and Brunel University. ditchwater, m’bhoy”; however, two years movements with a light-weight and graceful ‘Equilibrium’ for solo viola and chamber He has given masterclasses in major music later, Ireland was accepted into Stanford’s finale. Here the central movement is entitled ensemble. institutions in Britain, China, Sweden, class and remained with him until 1901. Caoine, a Gaelic lament, which constitutes Martin performs in recital with Julian Norway, Poland and America, and gives Rebecca Clarke’s memories of Stanford the emotional heart of the work. Stanford’s Rolton. Together they have performed annual masterclasses in Leipzig. He plays were however far more benign: ‘Sir Charles Sonata for Clarinet and Piano was arranged widely throughout the UK and have on a very fine viola made by Henricus was a very tall, loosely built man, with a for viola by Henry Waldo Warner (1874- recorded several discs for the Naxos and Catenar in Turin in 1680. friendly though slightly caustic expression. 1945) with the composer’s full approval Producing the songs [my father] had 4 9 Martin Outram and was published alongside the version in Stanford’s composition class at the for clarinet in 1919. A contemporary of RCM and it was he who suggested she Since studying at Cambridge University the great Lionel Tertis, Waldo Warner switch from violin to the viola and begin and the Royal Academy of Music with John was a leading violist of his generation, taking lessons with Lionel Tertis. During White, Martin Outram has enjoyed a wide known principally as a chamber music this period her already difficult relationship ranging career as quartet player, soloist and player, appearing in groups such as the with her father worsened. Following her teacher. New (later London) String Quartet. He criticisms of his extra-marital affairs, she In addition to his work with the Maggini was also a composer in his own right, was forced to quit the RCM in 1910 as he Quartet, Martin appears frequently as a producing choral and orchestral works, a had banished her from the family house soloist. His repertoire embraces the major comic opera and a good deal of chamber and cut off funding for her studies. In 1912 works for viola. His programmes often music. Stanford dedicated his Sonata she was one of very few female musicians include rarely heard pieces, particularly by for Clarinet and Piano to Oscar W. Street in ’s Queens Hall Orchestra British composers, and several works have and Charles Draper. Draper premiered and developed a parallel career as a viola Stanford’s Clarinet Concerto in 1903 with soloist and chamber musician. In 1916 she been written for him, including concertos the composer conducting (with his left arm emigrated to the USA and met Elizabeth by Adam Gorb and David Gow. Since in a sling following a fall on ice). He gave the Sprague Collidge soon afterwards while making his Royal Festival Hall concerto first performance of the Clarinet Sonata on concertizing with the pianist Gertrude debut with the London Mozart Players, 14 March 1916 with at the Watson, a pupil of Leschitsky and ultimately notable solo appearances have included piano at Steinway Hall in London. Coolidge’s constant companion. Her the broadcast premiere of Sir Peter Maxwell Rebecca Clarke (1887-1979) wrote more compositional activities peaked in the early Davies’ Strathclyde Concerto No.5 with the “Outram proves himself than one hundred works, mainly chamber 1920s, following which she pursued her composer conducting. Martin gave the first a player in the Primrose and choral works, but also songs. She career as a violist but eventually gave up concert performance of Britten’s Portrait composing altogether after her marriage to mould, with sumptuous studied from 1903 at the Royal Academy No.2 in London and on tour with Martyn of Music, but was withdrawn by her father the composer in 1944. She tone and sensitivity” Brabbins and Sinfonia 21 in Russia. He in 1905 after her harmony teacher Percy died in New York in 1979. BBC MUSIC MAGAZINE was the soloist in rare performances of the Miles proposed to her. In 1907 she enrolled

8 5 Rebecca Clarke was one of the scheduled Louis Bailly and Harold Bauer. (Bailly was a developing narrative which builds to a 1908-9 when he composed the First Violin performers at the 1919 Berkshire Festival. founder member of the Capet Quartet but tremendously affirmative climax at its close. Sonata, Ireland had established his own Her Viola Sonata was written in 1919 is remembered principally for his seven-year John Ireland (1879-1962) studied at the voice, as recognised by the judges of the and was submitted for the Berkshire membership of the Flonzaley Quartet and RCM from 1893 and was in Stanford’s 1909 Cobbett Competition ‘for a sonata for Competition of that year. This was the as Professor of Viola at the Curtis Institute class during the years 1897-1901. His violin and piano’. This work was awarded second such competition sponsored by from 1925. He later emigrated to Canada). parents both died during his teenage years first place from an international field of 134 Elizabeth Sprague Coolidge and hosted The Viola Sonata is headed by a quote from and this great sadness may have resulted entries. The Sonata was warmly reviewed at her recently-built ‘Berkshire Music Alfred de Musset’s poem La Nuit de Mai of in a certain introspection later in life, often when it first appeared, the Star referring Colony’ at South Mountain, just outside 1835: to be felt in his music. He inherited his to its ‘delicacy, lucidity, and tonal charm... Pittsfield, Massachusetts. Rebecca Coherence of ideas is apparent in the Poète, prends ton luth; le vin de la jeunesse love of literature from his parents and the Clarke’s Sonata was one of seventy- mystical and ritualistic writings of Arthur three movements, which are cleverly and two entries, all submitted anonymously. Fermente cette nuit dans les veines de Dieu. Machen were also especially important definitely contrasted in mood. There is a Upon a tied vote among the six judges Poet, take up your lute; the wine of youth to his artistic development. Ireland later strong vein of temperament in every one.’ It for first place, Coolidge was placed in this night is fermenting in the veins of God. declared: “How can critics even begin to was first published in 1911 and premiered an invidious position: she would have to by with the composer at This prepares us for the heady mix of understand my music if they have never choose between the works of two friends. the piano in 1913. Ireland revised the work romanticism and sensuality that pervades read Machen?” His early professional In the event, she cast her vote in favour of in 1917, (the year in which he wrote his much of the work. Throughout, the career was as an organist and choirmaster Ernest Bloch’s Suite for viola and piano, second sonata for violin) and again in 1944. impression is of a highly imaginative and at various London churches. During this so Clarke’s work was awarded second It is hoped that this version of John Ireland’s colourful musical impetus which cannot time he made frequent visits to the Channel prize. Coolidge wrote a private note to First Violin Sonata may take its place always be contained within the bounds Islands and the islands’ rich folk heritage Clarke assuring her that she had made alongside the published viola arrangements of more traditional structures. This is of pagan associations were an energising her choice along ‘ethical and not personal of the Second Violin Sonata and Cello particularly the case in the finale, which source of fascination to Ireland. Musically, lines’. Clarke replied thanking Coolidge for Sonata made by Lionel Tertis and approved though it recalls and develops material apart from Stanford, whom he idolised early her ‘absolute directness...and towards the by the composer. from the first movement, is presented as on, Ireland’s influences were wide-ranging: whole of this affair’. It was first performed a sequence of tableaux, an organically Beethoven, Brahms, Dvorak, Bartok, Ravel shortly afterwards by the French violist Martin Outram and some early works of Stravinsky. By

6 7 The Stanford Legacy Martin Outram, viola Julian Rolton, piano Martin Outra m , vi o la • Julian Ro lt The S t Martin Outra m , vi o la • Julian Ro lt The S t Charles Villiers Stanford (arr Henry Waldo anford Legacy Warner): anford Legacy Sonata for Viola and Piano op 129 1. Allegro moderato 7.10 2. Caoine: Adagio (quasi Fantasia) 6.14 3. Allegretto grazioso 5.50

Rebecca Clarke: Sonata for Viola and Piano 4. Impetuoso 7.40 5. Vivace 4.00 6. Adagio 11.20 o n, pian John Ireland (arr Martin Outram): o n, pian Sonata for Viola and Piano 7. Allegro leggiadro 9.44 Financial support from the following is gratefully acknowledged: 8. Romance: In tempo sostenuto quasi adagio 9.56 9. Rondo: Allegro sciolto assai 6.21

Total playing time 68.15

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