Sir Lennox BERKELEY (1903-1989)
Pièce for flute clarinet and bassoon (1929) [2.50]
Sextet for clarinet, horn and string quartet, Op. 47 (1955) [14.39]
In Memoriam Igor Stravinsky: Canon for String Quartet (1971) [1.32]
Introduction and Allegro for double bass and piano (1971) [6.41]
String Trio, Op. 19 (1943) [15.49]
Three Pieces for solo viola (1971) [5.55]
Sonatine for clarinet and piano (1928) [12.11]
Berkeley Ensemble (Sophie Mather (violin); Dan Shilladay (viola); Gemma Wareham
(cello); Lachlan Radford (double bass); John Slack (clarinet); Andrew Watson
(bassoon); Paul Cott (horn)); John Loucks (violin); Sarah Bennington (flute);
Libby Burgess (piano)
rec. 2014, St. John the Evangelist, Oxford, UK.
RESONUS CLASSICS RES10149 [59.48]
This release from the Berkeley Ensemble on Resonus Classics
comprises seven chamber works. The Berkeley Ensemble was founded in 2008 by
members of the Southbank Sinfonia taking its name from Sir Lennox Berkeley
and son Michael Berkeley. It has the aim of “exploring the wealth of
little-known twentieth and twenty-first century British chamber music alongside
more established repertoire.” Here the members of the Berkeley Ensemble
are augmented by an additional violin, a flute and a piano.
In 1926 on the advice of Maurice Ravel, Lennox Berkeley travelled to France
to study with Nadia Boulanger. As a result his compositional idiom embraced
a more urbane, continental character than many of his British contemporaries.
I wrote in an earlier review
that it was a cause of irritation to me that Berkeley’s music is habitually
described as ‘well-crafted’ a term often used euphemistically
for saying ‘nice but not outstanding’. Berkeley composed elegant
music with clear luminous textures, like brilliantly cut and polished gemstones.
Nevertheless, I can understand claims that Berkeley’s themes are often
short on memorable qualities and can lack variety, and also rarely expresses
the extremes of emotion. He is something of a connoisseur’s choice.
Some of his best regarded scores are his Serenade for Strings (1939),
Guitar Concerto (1975), Sextet (1955), Concertino
(1955) Missa Brevis, Op. 57 (1960), Mass for Five Voices,
Op. 64 and his three String Quartets.
On this release the most considerable score is the Sextet for clarinet,
horn and string quartet, Op. 47. Lasting some 15 minutes this three movement
work was commissioned by the BBC for the 1955 Cheltenham Music Festival and
premièred there by the Melos Ensemble. Marked Allegro moderato the
opening movement is light in texture and predominantly introspective ending
with a lovely clarinet solo. Mournful and sometimes wistful the central Lento
is followed by a spirited Allegro displaying shades of the folk-dance.
Another substantial score is the three movement String Trio, Op.
19 for violin, viola and cello which was composed in 1943. Dedicated to the
chamber trio of Frederick Grinke, Watson Forbes and James Phillips they introduced
the score in 1944 at Wigmore Hall. The nervy mood of the opening Moderato
feels urgent and decisive and the following Adagio communicates melancholia
with a curious sense of exhaustion. High spirits abound in the closing movement
Allegro which is played with considerable vitality.
Composed in 1928 during the time Berkeley was studying with Nadia Boulanger
in Paris the Sonatine for clarinet and piano is cast in three movements.
With writing of engaging contrast the opening Moderato is sometimes
playful and at other times reflective. Serious, becoming rather stern, bordering
on angry, the Lento makes a considerable impact and the short closing
Allegro contains upbeat writing that is jolly and effervescent. Another
three movement score is the Three Pieces for solo viola which seems
to have been written in 1971. Berkeley wrote it for a student of his Hungarian-born
violist Stephan Deák, a Jewish refugee who had come to Britain in the 1950s.
Extremely brief at just under a minute, the Moderato conveys a strange
sense of inquisitiveness. Languid and weary in character the central Largo
is followed by a closing Allegro which is rather brief with an unsettling
temperament of turmoil. Taking just under seven minutes the Introduction
and Allegro for double bass and piano was composed in 1971 for double
bassist Rodney Slatford. In contrasting sections this colourful work certainly
doesn’t outstay its welcome. Opening the programme is the Pièce
for flute, clarinet and bassoon. It's a cheerful and rather witty score
from 1929 and lasts just under three minutes. The shortest work of all on
the album is In Memoriam Igor Stravinsky: Canon for String Quartet.
This runs to just a minute and a half. Berkeley wrote this deeply meditative
elegy to commemorate Stravinsky’s death in 1971.
There is an unyielding assurance about the playing of the Berkeley Ensemble
that belies the relatively young ages of its members. Impeccably prepared
these fresh and firmly committed performances feel entirely in tune with Berkeley’s
idiomatic sound world. The playing of the individual players evinces gratifying
intonation and the overall unity of the group is wholly satisfying. The sound
quality is satisfyingly clear and balanced. In addition the booklet essay
is interesting and informative. It has been written by Tony Scotland the author
of the biography ‘Lennox & Freda’ (2010). I notice the annotation
states that the Pièce, In Memoriam Igor Stravinsky and Sonatine
appear here in world première recordings. There is sufficient space to have
included one of my favourite Berkeley works the Diversions for oboe,
clarinet, bassoon, horn and string quartet, Op. 63.
In short this delightfully played and recorded release is a credit to the
Berkeley Ensemble. Its fresh and committed playing is like a breath of fresh
air and I look forward to future releases.
Michael Cookson
Previous review: Gary
Higginson
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