Gordon JACOB (1895-1984)
Suite for Recorder and String Quartet (1957) [19:22] (World Premiere in Quartet
Version)
Sonatina for Treble Recorder and Harpsichord (1985) [9:38]
Sonata for Recorder and Piano (1967) [1967] (World Premiere)
A Consort of Recorders (1972) [10:15]
Variations for Treble Recorder and Piano (1962) [12:55]
Trifles, for Treble Recorder, Violin. Cello and Harpsichord (1971)
[9:07] (World Premiere)
Annabel Knight (recorders); Robin Bigwood (harpsichord and piano); Maggini
String Quartet (in Suite); David Angel (violin) (in Trifles); Michal
Kaznowski (cello) (in Trifles); Fontanella
rec. 12, 25-26 January 2009, Pottleton Hall, Suffolk. DDD
Text Included
NAXOS 8.572364 [75:10]
For me Gordon Jacob had always been admirable for his craftsmanship, but not
too much for expressive ability. Almost everyone loves the Suite for Recorder
and Strings, but I am forced to confess that the other works on this disk
of recorder music have made me a convert, given the range of feeling they
encompass.
As can be seen above, the version of the famous Suite here is accompanied
by string quartet. This provides a very different sound from the usual configuration,
one which I found not quite as rewarding. But I was totally taken with the
Variations for Treble Recorder and Piano, which not only shows great inventiveness
in form, but plumbs some emotional depths (see
review).
Of similar heft to the Variations is the Sonata, again for treble recorder
and piano. This contains both an andantino and a largo that amply demonstrate
how serious the composer could be, while the other two movements are most
enjoyable, with a serious ending to the scherzo. Trifles has more to
it than the title implies; it shows more invention than one would expect and
a very clever use of the harpsichord. I found the Consort of Recorders
the least impressive of the works here. Perhaps this is due to my having been
dragged to so many multiple recorder concerts. On the other hand, the Sonatina,
again with harpsichord, is very absorbing and has a beautiful theme in the
adagio.
Annabel Knight is a performer who seems to be able to accept any challenge
when it comes to the recorder. There is a lot of repertoire I hope she records
in the future. Robin Bigwood ably accompanies her on both piano and harpsichord,
notably on the latter. He also engineered and co-produced this recording:
a man of many talents. The Maggini are beyond comment at this point and this
record does nothing to lessen their repute. With a high woodwind instrument
such as the recorder a certain amount of shrillness is inevitable, but it
not a major problem. This recording is definitely an eye-opener both as to
Jacob and as to the modern recorder.
William Kreindler
A lovely recording of some mostly unknown music, showing great variety of
expression. Annabel Knight is someone to watch.
see also reviews by Dr Geoff Ogram and Bob Briggs