It’s not often that one is asked to review a premiere recording of
a large-scale Gurney work. The Sonata in E Flat is more than half
an hour long and unquestionably a landmark in the composer’s development.
Here Gurney is working on a far broader canvas than in his piano works
and songs and the result, if not an absolute masterpiece, is impressive
and undeniably moving. The first movement initially seems a touch
loose-limbed, yet repeated listenings reveal a finely thought out
structure, with Gurney taking care to ensure that the musical material
is closely related. The opening of the brief second movement is absolutely
charming as played here, with the violin pizzicato accompaniment to
the piano’s main theme making a refreshing textural change. The heart
of the work, however, is undoubtedly the slow movement, which sustains
a wonderfully lyrical mood throughout and is music of real substance
and depth. The finale succeeds in drawing all the musical threads
together in a most satisfactory manner. Throughout the work there
are touches of Brahms and Elgar, but what is striking is how individual
much of this music is.
Everyone involved in this worthwhile project deserves the highest
praise. Rupert Marshall-Luck had the considerable task of editing
the manuscript, especially the bowing indications. This enterprise
was clearly a labour of love. Although nothing will change my firm
opinion that the two most important English violin sonatas are Rubbra’s
Second and the Moeran, this newly discovered work is unquestionably
a major find. I strongly urge lovers of British Music to encounter
it in this superb interpretation.
The music of Lionel Sainsbury is largely unknown to me, but if his
“Soliloquy for Solo Violin” is anything to go by, I will be wanting
to investigate his work without delay. This is a passionate and beautifully
written piece, which eschews more contemporary playing techniques
in favour of simplicity and purity of expression. Its impact is out
of all proportion to its relatively short length. At times I was reminded
of Rubbra’s masterly “Variations on a Phrygian Theme”. This Sainsbury
piece is a work of great nobility and strength.
Elgar’s Sonata is not exactly a rarity on CD, with rival versions
existing by Nigel Kennedy, Lorraine McAslan, Tasmin
Little and Daniel
Hope. This new version more than holds its own in this illustrious
company. It is a splendid performance which underlines the wistful
nostalgia of Elgar’s late masterpiece more than any other account
I have heard. Hope’s version is perhaps more assertive, but Rupert
Marshall-Luck and Matthew Rickard get closer to the heart of this
piece, combining glorious playing with a real understanding of the
emotions behind the notes. If the Gurney and Sainsbury works appeal,
this will be a self-recommending first choice. Hope’s disc also includes
the Finzi Elegy and the rather less interesting Walton Sonata.
This is a superb new release. The sound is rich, yet clear, as one
would expect at the Wyastone Concert Hall. The documentation is excellent
– extremely informative and a model that other record companies should
follow.
David Jennings
www.davidjenningscomposer.co.uk
See
also review by John Quinn
