George Walker (1922-2018)
Piano Sonata No.1 (1953, revised 1991) [14:24]
Piano Sonata No.2 (1956) [9:00]
Piano Sonata No.3 (1974, revised 1996) [11:46]
Piano Sonata No.4 (1984) [13:16]
Piano Sonata No.5 (2003) [4:47]
Steven Beck (piano)
rec. 2021, Oktaven Audio, Mount Vernon, USA
BRIDGE 9554 [53]
There is a strong tradition of American piano sonatas. Off the top of my head I can think of examples by Ives, Copland, Barber, Sessions and Carter and there are, no doubt, others. To these we can add the five sonatas of George Walker, an impressive contribution to the medium, which fit neatly onto one disc.
I had not heard of George Walker until a few months ago, when he was composer of the week in the BBC Radio 3 series. I was impressed by what I heard and so was glad of this opporunity to hear these sonatas. He had a long and successful career in the USA, despite the difficulties caused by his being African-American. He always intended a life in classical music, which I note as some African-American musicians, despite being classically trained, gravitate towards jazz. There are occasional jazz references and references to spirituals and folk songs in his works, but no more than one might expect in any other American composer, Copland for example. You can read an obituary with a sketch of his career by Kenneth Shenton of MWI here.
Despite these sonatas being composed over a period of fifty years, they have more in common than what sets any of them apart. Walker has a fondness for sinewy counterpoint and somewhat angular harmonies, rather in the Hindemith way. He also likes strong single lines and chord sequences. His idiom is clearly twentieth century but is not particularly dissonant, and he likes a good deal of rhythmic vitality.
The first two sonatas, the closest together in time, have much in common. The fondness for counterpoint and for variation form is common to them. However, the first is consistently more playful, even jaunty, while the second conveys a sense of disaster being just round the corner. The second is also the more compact, despite being in four movements rather than three, and its Scherzo is only one minute and twelve seconds long.
The third sonata has two brief movements before a longer one and here we find a new riuchness of harmonic vocabulary, even suggesting Scriabin at one point. The second movement, titled Bell, is simply a succession of slow chords. The finale features constant changes of mood and texture.
The fourth sonata, in two movements only, is more angular than the earlier works. there are many ideas, among which leaping single lines, bell-like chorales and a fugal toccata are noteworthy.
The fifth sonata is in one movement only and is a formidable work, tightly wrought and intense. Perhaps it is the finest of the five.
Steven Beck is a contemporary music specialist and offers committed performances. The recording is excellent. Walker’s music is well worth getting to know.
Stephen Barber
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