Arnold COOKE (1906-2005)
Three String Sonatas
Violin Sonata No. 2 (1951) [22:24]
Viola Sonata (1937) [21:20]
Cello Sonata No. 2 (1980) [23:58]
Susanne Stanzeleit (violin); Morgan Goff (viola); Raphael Wallfisch (cello);
Raphael Terroni (piano)
rec. 2, 9, 16 October 2005, Music Hall, Guildhall School of Music and Drama,
London. DDD
BRITISH MUSIC SOCIETY BMS 432CD [67:45]
A study of the CD catalogues shows that there is precious little of Arnold Cooke’s
music currently accessible. Through the good offices of Lyrita, it is possible
to hear the First and
the Third Symphonies,
the Concerto for String Orchestra and the Jabez
and the Devil Suite. Hyperion has ensured that the clarinet works
are well represented, with the Concerto No. 1, the Quintet and the Sonata still
available. Over and above these, there are a few songs and that is about it.
So it is good that the British Music Society have re-released this fine CD of
three important chamber works. The CD was originally published as a part of the
Cooke Centenary celebrations.
Rob Barnett in his review at the time of the original release has suggested that “Arnold
Cooke is of the unfashionable Cheltenham generation of composers active … during
the period 1945-75”. He further notes that “their time may not yet
have come…” Eric Wetherell in the only study of the composer available
has suggested that the standard view of Cooke is that “as a disciple of
Hindemith, he must be rather less worthy of attention than his teacher.” That
would be like saying Beethoven was less valuable that Johann Georg Albrechtsberger.
However Wetherell concludes his point by insisting that “a careful and
sustained examination of Cooke’s work reveals that the similarities are
superficial and that his (Cooke’s) individual characteristics far outweigh
his indebtedness to his master.” Certainly studying critical comment reveals
a certain imbalance of views on the influence of Hindemith that will only be
fully resolved when the vast majority of Cooke’s music is available to
the listener.
The three works presented on this CD are selected from some ten Sonatas that
Cooke wrote over a period 45 years. The earliest piece here is the Sonata for
Viola which was composed in 1937 - this was one of the works that the composer
submitted for his Doctorate at Cambridge before his career was interrupted by
war service. It was dedicated to Keith Cummings and Lucy Pierce and was first
performed at the Aeolian Hall in 1937. This is a three movement sonata that has
unfortunately been described as relying on pattern-making - perhaps referring
to the ‘motoric’ rhythms that crop up most especially in the outer
movements. However the heart of his work is the profound ‘andante con moto’.
Any suggestion that there is no warmth or depth of feeling here is manifestly
wrong. This is an important ’prentice work that still demands our attention.
The Sonata for Violin and Piano No.2 was written in 1951 and was commissioned
by Gerard Heller for Rosemary Rapaport (see below) and Else Cross. It received
its first performance at the Wigmore Hall on 17 May 1951. This was the year of
the Festival of Britain and it is surely not without good reason to suggest that
the confidence generated in a war-weary but optimistic country is present in
this work - especially in the opening movement. Once again the heart of this
work is the ‘andante’. It would be ingenuous to suggest that this
music in any way belongs to the ‘pastoral’ school of music, yet there
is something of the open air here: something that is both reflective and valedictory.
This is truly lovely music that both moves and inspires. However this mood is
blown away by the ‘allegro vivace’ - we are back to a more cosmopolitan
setting that certainly manages to be both exciting and just a touch sentimental.
There is a lyrical theme that emerges every so often that manages to push the
energetic music to one side. However it is a fugato theme that closes the work
and ensures that the work ends on a positive note.
The final work on this CD is the great Cello Sonata No.2 - it is also the latest,
having been composed in 1979-1980. However, the work had to wait for over quarter
of a century before being given its first performance on 4 November 2006 in Gresham’s
School in Norfolk, with the present soloists presiding. The Cello Sonata is written
in four well-balanced movements. On face value this is a much deeper work than
the Violin or Viola sonatas yet perhaps this is simply because lyrical themes
seem to predominate. However, this is not the full story. After an attractive ‘lento’ the
short ‘scherzo’ is fun and gives a backward glance to the achievements
of the Cheltenham composers. The final movement is an inspired balance between
the lyrical and the energetic. In keeping with much of Arnold Cooke’s output
the closing bars are vigorous and leave the listener in no doubt as to the generally
positive nature of the music.
I think that my only complaint about this CD is the paucity of information about
each work. There is a good pen-portrait of the composer, with all the necessary
biographical detail to be able to enjoy this CD. However each of the sonatas
is disposed of in about forty words each. There is also an interesting ‘personal
reminiscence’ by Rosemary Rapaport, a violinist and a music teacher who
founded the Purcell School for musically gifted children and a long-time friend
of the composer.
The playing by the three soloists and the pianist is satisfying and sympathetic
and ultimately convincing. Rob Barnett has suggested that “none of these
sonatas are in any way dissonant or difficult” but wonders “if there
is some discouragement to communication it is their emotional reserve”.
The reviewer quoted in the 2008 Penguin Guide to Classical Music notes that all “three
performances are most persuasive and truthfully recorded, if lacking a little
in resonant warmth.” One contemporary reviewer suggested that Cooke’s
music “is certainly economical, but it is an economy achieved by drying
out emotion.” However, this argument about the lack of warmth and emotion
is spurious. Music can contain a huge variety of emotion and interest: it should
be judged on this diversity rather than possession of a feel-good factor. Would
we banish the hard-driven Bartók Piano Sonata simply because it did not
pull the heart strings in quite the same way as Rachmaninov’s Second Piano
Concerto? Surely not.
This is essential listening for all enthusiasts of British music but more importantly
these are three sonatas that stand up well in their own right as a vital contribution
to the corpus of European chamber music. It is a tired argument to suggest that
because Cooke is deemed to belong to the Cheltenham generation of composers,
these works should be ignored.
John France
see also reviews by Rob
Barnett and Nick
Barnard