ENGLISH WORKS for Viola and Orchestra ARNOLD BAX WILLIAM WALTON RALPH VAUGHAN WILLIAMS HONG-MEI XIAO, viola BUDAPEST SYMPHONY ORCHESTRA MÁV JÁNOS KOVÁCS, conductor DE 3486 1 DELOS DE 3486 ENGLISH WORKS FOR VIOLA FOR DELOS DE 3486 ENGLISH WORKS AND ORCHESTRA DELOS DE 3486 ENGLISH WORKS FOR VIOLADELOS DE 3486 ENGLISH WORKS AND ORCHESTRA ENGLISH WORKS for Viola and Orchestra SIR ARNOLD BAX Phantasy for Viola and Orchestra (1920) SIR WILLIAM WALTON Concerto For Viola and Orchestra (1929 version) RALPH VAUGHAN WILLIAMS Suite For Viola and Orchestra (1933–34) Hong-Mei Xiao, viola Budapest Symphony Orchestra MÁV János Kovács, conductor Total Playing Time: 73:10 ORIGINAL ORIGINAL DIGITAL DIGITAL ong eclipsed by its smaller sibling, the violin, lush harmonies and soaring melodies set in a Lthe viola began to come into the light in the neo-Romantic context began to seem outdat- mid-20th century with newly composed reper- ed as the fashion in classical music gave way to toire and increased audience appreciation for atonality and more complex approaches. Per- its versatility and wide range—from the mellow, formances of the Phantasy are few, but record- throaty depths of its lower register to the tow- ings of Bax’s music, including his symphonies ering heights of its topmost notes. and tone poems, are re-establishing his repu- tation. Today we appreciate Bax’s music for its If one person could be singled out as leading welcoming melodies and luxurious harmonies, the way to the viola’s new prominence as a solo for its distinctive orchestration and masterly in- instrument, it would be violist Lionel Tertis, who strumental writing, all evident in the Phantasy was a tireless proponent of the viola and the for Viola and Orchestra. first virtuoso to gain a wide following for him- self and his instrument. Tertis, who lived from In three connected movements, beginning 1876 to 1975, greatly expanded the repertoire with a slow introduction, and played without for viola by encouraging composers to write pause, the Phantasy opens with a few short compositions for the instrument, and he was chords from the orchestra followed by a ca- behind all three works on this album. denza for the viola. Joined by the orchestra, the viola continues in an improvisatory man- Arnold Bax’s lifelong fondness for the viola dates ner, displaying the tonal range of the instru- to his student years at the Royal Academy of Mu- ment and the virtuosity of the performer. sic; Lionel Tertis was professor of viola there while Rhapsodic melodies and dramatic harmonies Bax was studying piano and composition. The are interspersed with folk tunes, marches, and Phantasy for Viola and Orchestra featured on dances in which we can hear Bax’s love of Irish this recording is dedicated to Tertis, and in addi- traditions. Sections of the Phantasy are rem- tion, Bax composed an exceptionally fine sonata iniscent of Irish fiddle music, and the finale for viola and piano, which he and Tertis recorded. even incorporates a reference to the Sinn Féin marching song. Bax’s music fell into neglect after his death in 1953. His compositions were considered mod- As Lionel Tertis tells in his autobiography, My ern during his lifetime—The New Music Review Viola and I, it was the eminent conductor of 1918 described Bax’s music as “perhaps the Thomas Beecham who suggested to the young boldest from the point of view of harmonic William Walton that he compose a viola con- innovation that any British composer has yet certo for Tertis. From our vantage point in the produced.” Nevertheless, by the 1950s, Bax’s 21st century, there is nothing strident, grating, 2 or raucous about Walton’s Concerto for Viola tra is an important task of the composer of a vi- and Orchestra, one of the great concertos for ola concerto. In this recording, Hong-Mei Xiao’s the instrument. In 1929, however, the concer- viola shines above the orchestra without appar- to was apparently problematic for Tertis, who ent effort. Perhaps most easily heard in the last refused to perform the work and immediately movement, the viola’s voice is skillfully interwo- returned it to Walton. Tertis later referred to the ven with the winds and strings of the orchestra, incident with “shame and contrition,” and com- as the soloist and the orchestra trade melodies ments that “the innovations in [Walton’s] musi- back and forth. Surprisingly, near the beginning cal language, which now seem so logical and of the last movement, double-stops in the viola so truly in the mainstream of music, then struck sound almost as full as the orchestra. me as far-fetched.” In fact, Walton re-orchestrated the Viola Con- The premier performance was given in Lon- certo in 1962, paring down the wind instru- don by composer Paul Hindemith, who was ments, among other changes. He authorized also an accomplished violist. Walton tells that both versions for performance. In 2002, violist Tertis came to the first performance, “was Christopher Wellington edited both versions completely won over, and he played the work for Oxford University Press’s complete edition whenever he had the chance.” of Walton’s works. This edition also includes the edits of Frederick Riddle, the violist who first re- The concerto’s immediate success and enthu- corded the piece on the suggestion of Lionel siastic reception by the press helped establish Tertis. Riddle worked out various phrasings and Walton as an important British composer at bowings that were incorporated into the solo the forefront of new music. Walton drew from part with Walton’s approval. The performance Romanticism and Impressionism, but he also on this recording is the world premiere record- incorporated new sounds, such as those that ing of the 1929 orchestration in the new edition Hindemith was exploring in his compositions at by Wellington. the time. The three-movement work begins with a short, Orchestrating a viola concerto needs to be somber introduction by the orchestra. The viola done carefully. The violin, with its high-pitched then begins its journey with a graceful and un- sound, can easily project over the orchestra, hurried melody, wavering between major and and it is not an accident that violin concertos minor and casting a dreamy mood over the en- far outnumber viola and cello concertos. The tire piece. A tightly structured framework holds viola’s sound is more easily drowned out by the modernist, Romantic, and chromatic harmonies orchestra, and balancing the viola and orches- together with its formal clarity. 3 Ralph Vaughan Williams, who learned to play colique begins as a polka might, but the viola violin and viola as a boy, dedicated his Suite soon introduces a minor tonality. Before the vi- for Viola and Orchestra to Lionel Tertis, who ola strays away completely, the polka rhythm gave the first performance of the work in 1934. returns, but not for long. The solo viola then The viola spins glorious melodies throughout takes off in a rhapsodic flight, but returns to its the eight-movement work; many of the mel- melancholy theme, with the orchestra continu- odies seem to spring from English folk songs, ing to hint at the polka rhythm. The last move- which provided Vaughan Williams with lasting ment is a galop, a quick dance that ends the inspiration throughout his career. piece on an optimistic note. —David Brin Like most of Vaughan Williams’s music, the suite is delightful to listen to. It also takes a true virtu- oso to perform the solo part, which may seem Hong-Mei Xiao, viola relatively undemanding to the listener (com- pared to the Walton concerto, for instance). Hong-Mei Xiao has been the first-prize winner However, the suite requires not only beautiful of the Geneva International Music Competition. tone from the soloist, but also adroit handling Her extraordinary artistry and brilliant virtuoso of the instrument and impeccable technique. technique have gained accolades from review- ers across the globe. A recipient of the coveted The suite is a collection of eight short move- Patek Philippe Grand Prize, Ms. Xiao has estab- ments. The lyrical Prelude is followed by the lished herself as an international performing Carol, and then by the contrasting Christmas artist in recitals and as soloist with orchestra. Dance. The longest movement is the Ballad, She has toured throughout Europe, North and which is the central movement of the suite, South America, and the Far East, performing occurring at its midpoint. The principal theme in major concert halls and with orchestras of of this movement is pentatonic, characteristic the greatest distinction. Her performances and of many English folk songs. The orchestra en- recordings have been broadcast worldwide on hances this melody with an opulent harmonic radio and television. accompaniment, and a fast middle section in 6/8 provides contrast to the slower outer sec- Ms. Xiao began her violin studies with her fa- tions of the movement. Throughout the suite, ther, Heng Xiao, a well-known composer. She dance-like movements offer contrast to slower graduated with highest honors from Shanghai lyrical sections, and the Ballad is followed by Conservatory, where she studied viola with a fast movement in perpetual motion, testing Xi-di Shen. As a recipient of the Asian Cultur- the soloist’s skill and stamina. The Polka Melan- al Council Award, she completed her master’s 4 degree with violist John Graham at the State University of New York at Stony Brook. Hong-Mei Xiao was honored as a United States Artistic Ambassador. Her CD of Ernest Bloch’s Works for Viola and Orchestra on the Naxos label won the Critic’s Choice Award from Amer- ican Record Guide, which praised her perfor- mance with “the solo playing is spectacular on all counts.” She is also the featured soloist in the Naxos world premiere recording of the original and revised versions of Béla Bartók’s Viola Con- certo, which has received international critical acclaim since its release.