Skip to main content

Viola Music

While resident in the US in 1919, Rebecca Clarke entered her Viola Sonata in a composition competition sponsored by patron of the arts Elizabeth Sprague Coolidge. Out of a field of 72 entrants, Clarke's piece was adjudged the joint winner, unluckily losing out via Coolidge's casting vote to Ernest Bloch's Suite for Viola and Piano, a similarly excellent piece. Something must have been in the water that year, as it also saw the publication of Paul Hindemith's wonderful Op. 11 No.4 Viola Sonata.

Might her career have flourished more fruitfully had she won? Perhaps, but the obstacles in her way were formidable: entrenched sexism; the demands of family life; persistent depression. Most of her major compositions date from the latter 1910's and the early '20s, with only sporadic creative episodes thereafter. I can't recall if I read about her work before hearing it or vice versa, but it was after listening to a movement from her Viola Sonata on BBC Radio 3 that I ordered this CD.

The Sonata is its main attraction, and the first work on the disc. It's followed by an assortment of smaller-scale pieces for viola and piano, such as the lovely song without words 'I´ll bid my heart be still'. The violist here is Philip Dukes, and the pianist Sophia Rahman. The final two compositions introduce other instruments: Daniel Hope on violin joins the duo for a plaintive 'Dumka', while in the slightly spikier 'Prelude, Allegro And Pastorale', Rahman's place is taken by Robert Plane on clarinet. The recording and performances are very good: it's an absorbing and rewarding disc.

Comments

Popular posts from this blog

All Wrapped Up

Here's another of the compilation cassettes I bought this summer, having taken home a Denon twin-deck hi-fi cassette player from the local charity shop. All Wrapped Up is a 1983 compilation of singles by The Undertones, with Side One filled with A-sides, and B-sides on Side Two. A cassette must be the least desirable medium for such an arrangement, with a long rewind required if one just wants to hear the hits repeatedly. The Undertones were unapologetically provincial and anti-fashionable, with their songs sharply-written slices of life that pointedly avoided any mention of politics, or of the then-continuing violence in their native Derry. My favourite tracks are the obvious choices: 'Teenage Kicks', 'Jimmy Jimmy', 'Here Comes the Summer', 'My Perfect Cousin' & 'Wednesday Week'. Their later singles showed increased sophistication but lack the some of the straightforward charm of their earlier work. The B-sides, not unexpectedly, are mo...

In Heat

Having acquired the soubriquet "the walrus of love", Barry White thereafter became something of a figure of fun, something that misled me (and presumably others) into disregarding his music. Only within the last few years have I begun to pay it more attention. After picking up a copy of his '74 album Can't Get Enough last summer, which I loved, I sought out some of the music by his protegés Love Unlimited. From a Discogs seller I ordered well-used copies of Under the Influence of... ('73) and In Heat ('74) for only £6.25. The only unappealing thing about In Heat is its awful title. The songs and the singing are strong; the arrangements rich & warmly enveloping. As one would expect from White, the thematic focus is firmly fixed on amatory matters. The opening number 'Move Me No Mountain' (the only one on the record not written by White) offers a refreshing rebuttal to the kind of lyrical hyperbole in songs like 'Ain't No Mountain High E...

Bananas Are Not Created Equal

I knew Jay Berliner's name from his contributions to Van Morrison's Astral Weeks and Charles Mingus' The Black Saint and the Sinner Lady , so when I saw this curiously-titled LP at the local charity shop I was intrigued, and bought it even though I had no idea what kind of music it might contain. This was after the days when one could still buy records there for a pound apiece, but I don't think I paid more than a fiver for it. The music turned out to be an all-instrumental blend of funk, soul & jazz. Berliner's virtuoso lead guitar is only one of many attractions here. The band of first-rate session musicians behind him are all uniformly excellent too, and, crucially, sound like they're having a blast. Cornell Dupree's supporting guitar work, while less showy than Berliner's, is beautifully-judged, and the rhythm section is terrific. Arranger/conductor Wade Marcus was no slouch either, judging from the way everything comes together. Two of the funk...