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PIANO SONATAS 1 - 10 Centre,And a Special Recital to Mark His 60Th Birthday at the Wigmore Hall, London. Martin Jones

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PIANO SONATAS 1 - 10� Centre�,�And a Special Recital to Mark His 60Th Birthday at the Wigmore Hall, London.� Martin Jones NI 5747/8 NI 5747/8 composer, Wendy Carlos in New York. In 1996 he became the first major British artist to give a solo recital in Ekaterinburg, Russia. Recent highlights include a performance at the Adelaide Festival, a programme of Percy Grainger at the Eifeler Musiktage in Germany,the completeIberiaof Albéniz at London’s South Bank PIANO SONATAS 1 - 10 Centre,and a special recital to mark his 60th birthday at the Wigmore Hall, London. Martin Jones Also Available NI 5357 Hoddinott, BBC National Orchestra of Wales Tadaaki Otaka, conductor NI 5466 Hoddinott and Mathias, Fine Arts Brass Ensemble with Kevin Bowyer, organ Recorded in England by Nimbus Records Limited Cover painting:La Cathedrale Engloutie II (oil on canvas) by Ceri Richards (1903-71). Walter Hussey Bequest, Pallant House, Chichester/The Bridgeman Art Library and the artist’s estate. 16 1 NI 5747/8 NI 5747/8 HODDINOTT Martin Jones Piano Sonatas 1-10 Martin Jones has been one of Britain’s most highly regarded solo pianists since first coming to international attention in 1968 when he received the Dame Myra Hess Award. The same year he made his London debut at the Queen Elizabeth Hall and his Martin Jones,piano New York debut at Carnegie Hall, and ever since has been in demand for recitals and concerto performances on both sides of the Atlantic. DISC ONE He is a prolific recording artist and his many discs for Nimbus Records include the Piano Sonata No. 1, Op. 17 17.38 Piano Sonata No. 4, Op. 49 11.13 complete solo piano works of Mendelssohn, Brahms, Debussy, Grainger, I Andante 3.22 Toccata I - Allegro agitato 1.55 Szymanowski (voted Best Instrumental Recording of 1996 by the Spanish magazine II Allegro 3.57 Aria - Adagio flessibile 3.14 ‘CD Compact’) Stravinsky, Korngold and the sonatas of Alun Hoddinott. He has III Adagio 4.08 Toccata II - Presto 1.30 recently recorded several Spanish piano masters and Volume 2 of this series received IV Allegro assai 6.11 Notturno - Lentissimo 1.50 the 2000 Classical Indie Award from the Association for Independent Music in the Toccata III- Allegro con brio 2.44 USA. The soundtrack of the film ‘Howards End’ features Martin Jones performing Piano Sonata No. 2, Op. 27 10.14 Grainger’sBridal LullabyandMock Morris. I Moderato 4.02 Piano Sonata No. 5, Op. 57 14.32 Martin Jones has performed as concerto soloist with many of the leading British II Adagio 3.08 Cadenza - Allegro 4.20 orchestras, as well as in the USA and Russia, and toured Canada as soloist with the III Allegro 3.04 Aria I - Adagio 3.46 BBC Welsh Symphony Orchestra. Recent performances include the BrittenPiano Aria II - Andante 2.31 Concertoin St Petersburg, the SchoenbergPiano Concertowith the Adelaide Piano Sonata No. 3, Op. 40 Toccata - Presto 3.55 Symphony Orchestra, Scharwenka’sPiano Concerto No 1in the USA, and Brahms Adagio, espressivo e rubato - Concerto No 1with the Oman Symphony Orchestra. His performance repertoire, as Allegro energico 7.43 well as encompassing most of the standard works for piano, also includes unusual concertos such as the Busoni Concerto, which he performed with the BBC Symphony Orchestra and Norman Del Mar. He has also championed the music of British Total playing time 61.20 composers and has performed concertos by Britten, Benjamin, Mathias, McCabe and Lambert. Recorded in the Concert Hall of the Nimbus Foundation, In the USA he has served as jury member on a number of international piano Wyastone Leys, Monmouth on 17th & 18th December 1992 - in the presence of the composer. competitions, and he gave the world premiere ofRavelled Threadsby American 1993 Wyastone Estate Limited © 1993 Nimbus Records Limited. 2 15 NI 5747/8 NI 5747/8 richly fulfilled- but Hoddinott's pianistic odyssey is by no means complete. In 1993 he wrote an Eleventh Sonata for Iwan Llewelyn-Jones in memory of William Mathias DISC TWO and in 1994 composed another sonata - the Twelfth - for Simon Shewring. A third Piano Sonata No. 6, Piano Sonata No. 8, Op. 125 12.53 volume of piano sonatas may well be on the horizon! Op. 78 No. 3 12.21 I Allegro 5.38 © 1995 Geraint Lewis I Adagio maestoso - 5.26 II Andante 3.11 II Allegro bruscamente - 4.48 III Con brio 4.04 III Andante mesto 2.07 Piano Sonata No. 9, Op. 134 13.52 Piano Sonata No. 7, I Vivo 4.05 Op. 114 14.40 II Calmo 4.20 I Moderato 3.59 III Tempi 5.27 II Adagio 2.57 III Allegro 3.18 Piano Sonata No. 10, Op. 136 11.12 IV Andante 2.24 I Andante - 5.08 V Vivace 2.02 II Allegretto - 2.15 III Allegro - 3.49 Presto e leggiero Total playing time 64.58 Recorded in the Concert Hall of the Nimbus Foundation, Wyastone Leys, Monmouth on 17 & 18 December 1992 -in the presence of the composer. 1995 Wyastone Estate Limited © 1995 Nimbus Records Limited. 14 3 NI 5747/8 NI 5747/8 a contrasting toccata-like idea. These two gestures proliferate and in rubbing ALUN HODDINOTT (born 1929) shoulders generate a 'sonata' tension. The scintillating toccata is often stopped in its Piano Sonatas Nos. 1-10 tracks by the stalking Beethovenian octaves and a more lyrical idea is also allowed to emerge as part of the flow. This lyrical tone entirely dominates the slow central Disc One - Sonatas Nos. 1-5 movement which is an unruffled, tranquil barcarolle in character, warmly romantic in its harmonic colouring. The finale - entitledTempi- is a cumulative set of variants on a stark statement in octaves starting off from B flat. Contrasting tempi and Alun Hoddinott's Piano Sonata No.l was composed in 1959, when the composer was characterisations are fully explored as the music journeys full circle to rediscover its thirty and well-established as a leading figure among the young composers of his initial tonality with thrillingly impulsive impact. generation - and as I begin to write this note in May 1993 I receive the manuscript of Sonata No. 10, Op. 136 followed very quickly and was commissioned by the his newly-completed Sonata No. 11! His evolving canon of sonatas stands as one of young virtuoso Raymond Clarke who gave the first performance at the Purcell Room the most significant contributions to the piano repertoire by a mainstream contempo- on London's South Bank on September 27, 1989. It is fascinating to note how two rary composer. He has also composed three piano concertos, music for two pianos and works in the same medium written in close succession can be completely different in a number of smaller piano pieces. It is therefore surely significant in some sense that character, but noticeably from the same pen (the same was frequently true of Hoddinott himself is not a pianist. (His own instruments are the violin and viola and Beethoven in consecutive symphonies and piano sonatas). If the Ninth is gesturally he was a distinguished founder member of the National Youth Orchestra of Wales in Hoddinott's homage to Beethoven'sHammerklavierthen the Tenth is hisMoonlight. 1946). In contrast, a figure like his friend Benjamin Britten, who was a prodigiously The opening movement is a hypnotically beautiful tapestry of sound which gifted pianist, was obviously inhibited when it came to writing solo works for the completely covers the keyboard in interlocking chainsof consonant intervals with instrument. And Hoddinott's Welsh contemporary William Mathias - to whose mem- gently clashing major or minor thirds clouding the tonality. The C sharp anchor is a ory the Eleventh Sonata is inscribed - was similarly a brilliant pianist, but only crucial long-term signpost though the movement ends on an inconclusive F sharp. composed two solo sonatas. It may be that the subliminal awareness of a particular The three movements are in fact a single evolving argument, and- in contrast to the technique - its scope, limitations and the tendency for the fingers to lead the mind Eighth - one which steadily accelerates in speed. This kaleidescopic process is vividly towards certain pianistic cliches - stiffens the compositional sinews. Hoddinott's audible in that the transformation and development of material is both harmonically imagination however has been stimulated creatively by the many virtuoso pianists and melodically tangible as the music unfolds through the intermezzo of the second with whom he has collaborated over the last three decades. movement and the coruscating toccata - punctuated by the Beethovenian octaves of Educated at University College, Cardiff (where he was later to be Professor of the Ninth - which brings the sonata to an exhilarating close. Music for over twenty years) Hoddinott was already composing at a very early age When writing a Preface to his edition of the Third Sonata John Ogdon concluded and works of his were performed professionally, and even broadcast while he was still by saying that 'if I have mentioned a parallel with Scriabin it is in the hope that Dr. Hoddinott may extend the analogy by giving us ten Sonatas'. That hope has been 4 13 NI 5747/8 NI 5747/8 with an unresolved cadence whose last chord is very close to that of the first a student. He then had a valuable period of study in London with the Australian movement. The argument is only resolved in the finale - a brilliantly syncopatedmoto composer Arthur Benjamin who was a celebrated pianist, famous at the time for his perpetuowhich gradually gathers pace and strength and eventually returns to the very piano-hitJamaican Rumba.Hoddinott now credits Benjamin with much of the opening Allegro - but in modified form so that what felt at the start to be the opening foundation of his approach to piano writing, by dint of various carefully observed of a multi-coloured fan of chords now correspondingly seems to be the closing of the technical devices, sleights of hand and an immersion in the piano works of Debussy same.
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