British Women Composers
Ethel SMYTH (1858 – 1944) Violin Sonata in A minor, op.7 (1887)
[28:20]
Elizabeth MACONCHY (1907 – 1994) Three Preludes (1970) [7:33]
Irène Regina WIENIAWSKA (POLDOWSKI) (1879- 1932) Violin Sonata
in D minor (1912) [22:15]
Phyllis TATE (1911 – 1987) Triptych (1954) [16:41]
Ethel BARNS (1874 – 1948) La Chasse (1928) [3:32]
Clare Howick (violin), Sophia Rahman (piano)
rec. 27-28 December 2008, Coombehurst Studio, Kingston University, London.
DDD
NAXOS 8.572291 [78:09]
An enterprising issue of music less often heard, but qualified by the title
Women composers. I have said it before and I shall say it again, why do we
have to advertise this point? Elizabeth Lutyens was once at a reception for
the announcement of the forthcoming year’s Proms season and someone mentioned
that two (or however many) works being played that year were by women composers.
Lutyens, and if you knew Liz this will come as no surprise to you, said, in
a loud voice, “yes, and (here she quoted a number) are by homosexual composers,
you won’t mention that!” Of course she is right. What does it matter what
the sex, or sexual orientation, of the composer is? And what’s more, if you
were to listen to these fine pieces you’d never know the sex of the composer.
So, ultimately, what does it matter?
Take Maconchy’s Three Preludes. Here is strong, argumentative music,
finely wrought, purposeful in intent, and with a stark beauty. Maconchy is
known for her Quartets
and her string writing is the best of her. This piece, alone, is worth the
price of the disk. Ethel Smyth’s Sonata is a big-boned, early, work,
Brahmsian, to be sure, but with an emerging individual voice. Whilst this
work doesn’t have the character, or the drive, of the Concerto for Horn
and Violin, it cannot be ignored, for there is much to be admired here.
Irène Regina Wieniawska was the daughter of the great virtuoso Wieniawski
and she published her work under the name Poldowski. On marrying Sir Aubrey
Dean Paul she became Lady Irène Dean Paul and a British national, hence her
inclusion here. Her Violin Sonata is a piece of romantic writing, not
as strong as the Smyth but with sturdy tunes and a solid grasp of form. That
said, it outstays its welcome. One wonders why this was included when there
are many superior works for violin and piano by British women composers –
such as Elizabeth Lutyens’s superb Scroll For Li–Ho (1967) or the Sonata
by Grace Williams.
If you only know Phyllis Tate’s music from the Suite - London Fields
(available on Lyrita
SRCD.214 in a mixed concert) or the Sonata for clarinet and cello
(available on Gasparo
GSCD 330 as part of a mixed recital), this Triptych will come as
a shock. On first hearing, it appears to be quite austere, but as one gets
to know it the music reveals its secrets. I was especially pleased to read
in the notes that the work, “consists of three movements”. Who could have
guessed it? What we need now is a new recording of her Nocturne for
four voices, string quartet, double bass, bass clarinet, and celesta. How
about that, Naxos?
Ethel Barns’ La Chasse is a marvellous piece of whimsy with which to
end a stimulating and enjoyable recital. This is a most worthwhile disk, containing
music which should be heard. These works are nicely juxtaposed, in very fine
performances that evince total commitment. The sound is excellent and the
notes good. This isn’t just for those of us who are passionate about British
music, it’s for everyone interested in good music.
Bob Briggs
Not just for those who are passionate about British music, it’s for everyone
interested in good music.