RECORDING OF THE MONTH
Frank BRIDGE (1879 - 1941)
Cello Sonata in D minor (1913-17) [21:49]
Benjamin BRITTEN (1913 - 1976)
Cello Sonata in C, op.65 (1960-61) [19:59]
Arnold BAX (1883 - 1953)
Legend-Sonata (1945) [24:40]
Johannes Moser (cello), Paul Rivinius (piano)
rec. 12-15 January 2009, Kammermusikstudio, SWR, Stuttgart. DDD
HÄNSSLER CLASSIC CD 93.257 [66:45]
A CD of cello music by the three Bs. And not any old three Bs, but three English
Bs. It’s an apt coupling for all three composers were, in some ways,
outsiders in their own time.
Frank Bridge’s Sonata was written in the romantic style he employed
before the First World War, after which his style radicalised and became more
elusive, aphoristic and, some would say, difficult - hence his being an outsider.
This latter isn’t true and we can now understand his later music simply
because, through recordings, we are able to assess his complete output. In
two big movements, the second being both slow movement and finale, Bridge’s
Sonata is brim full of tunes, welded to a glorious singing line for
the cello. Moser allows himself time to relish the lyricism of the work, and
he muses and sings to perfection. He obviously has a deep understanding of
the work and it shows, for his command of the piece is second to none.
Bridge’s pupil, Benjamin Britten is credited with being the man who
really put England back on the musical map. This isn’t totally true,
there was much before him to do that, but perhaps it was Britten who brought
English music to the world at large. His Cello Sonata was the first
of five works he wrote for Mstislav Rostropovich. It’s a mysterious
piece, starting with a very nervous and seemingly uncertain Dialogo.
But nothing about Britten’s compositions can be said to be uncertain
and his grip on the uneasiness of his material is masterly; a satisfying whole
being made out of whispered secrets. The pizzicato Scherzo is jumpy
and uncomfortable, with, perhaps, a slight sense of panic behind the seeming
playful façade. Elegia is the heart of the work, with a bold
climax and distant musings on the horizon. The final two movements change
attitude. The fourth, a March, is grotesque and angular, whilst the
final Moto perpetuo is a real headlong rush, the like of which is unusual
in Britten’s music. As with the Bridge, Moser is very secure here, especially
in the slow movement, which has a quiet authority.
It’s hard for any cellist who chooses to play these two works, let alone
record them, for they were both recorded by Rostropovich with Britten at the
piano. Their performance of the Bridge is available on Decca 4435752 (coupled
with Schubert’s Arpeggione Sonata) and the Britten Sonata
is available on Decca 4218592 (coupled with the first two Solo Cello Suites).
Anyone interested in Britten will already have these, I am sure, and, on no
account must they be missed, but Moser’s interpretations come very close
to the very high standard set by Rostropovich.
Bax was an outsider because of his being, in his own words, “a brazen
romantic”, refusing to go the neo-classical and modernist way of so
many of his contemporaries. This Legend-Sonata is a very late work
- written only a few years before his death and at a time when his music had
fallen from the full favour of the public and performers. This Sonata
is free in form, displays some of the Celtic Twilight attitude which can be
found in many of his works, and is light and delightful; there are no depths
to be plumbed here. Moser gives a nicely understated performance, pointing
the lyricism, for it is a tuneful piece, and allowing it to please.
This is a real find of an issue of English music. Moser and Rivinius make
a fine duo partnership - and it is a partnership not a soloist with accompanist.
The recording is very nicely balanced, and the notes are good. It’s
reassuring to hear great English music played so well by non-English musicians.
Perhaps the word is getting round that English music really can be as good
as it sounds! Don’t miss this, it’s a very special issue, and
I, for one, welcome it with open ears.
Bob Briggs
A very special issue.