It is almost unbelievable, but true, that at the present time
there are nine versions of Rebecca Clarke’s fine Viola Sonata
in the CD catalogues. Three things spring to mind about this
fact. Firstly, this Sonata is a work that fully deserves as
much exposure as possible. Secondly, it is an excellent expression
of a situation in which both British music in general and women’s
music in particular, have seen a huge increase in availability
over the past two or three decades. Having said that there is
much to be done on both accounts. And finally, there is the
down-side – there are comparatively few Sonatas for viola in
the repertoire: any worthy ones are likely to be played much
more often by performers than their violin or cello equivalents.
This paucity of material also reflects the need of violists
to arrange, or have arranged other music for their instrument.
This present CD can be seen as a compilation in two parts. Firstly
there are the two sizable works: the Clarke and the newly discovered
Suite by Theodore Holland. Secondly there is a selection of
small-scale, but important works by five major names in British
music. Three of these are arrangements.
I do not want to give a detailed analysis of Rebecca Clarke’s
Sonata for Viola and piano. However four comments are worth
noting. Firstly this piece is undoubtedly a work of genius;
it does not need repeated hearing to realise that this is one
of the great works of the genre. Secondly, the Sonata was composed
in 1919 for the Coolidge Competition. She wrote it under the
pseudonym ‘Anthony Trent’. Interestingly, the winner of the
first prize was Bloch’s Suite for viola. Thirdly, Rebecca Clarke
was not a prolific composer: the only other work of similar
size and scope to this Sonata was her 1921 Piano Trio. Fourthly,
the sound-world of the Sonata is complex. It would be easy to
write it off as a concatenation of a variety of post-romantic
styles. For example the listener will easily detect the influences
of Debussy, English folksong, Ravel and the impressionism associated
with the Ravel-inspired music of Vaughan Williams. However the
main influence has to be Brahms. Yet the overall impression
of this twenty-minute long, three movement sonata cannot be
described as a hanging together of other composers’ styles.
The total effect is quite definitely Rebecca Clarke’s own.
I was immediately impressed by the two short pieces by William
Walton. They are new to me – at least in this particular arrangement
by Matthew Jones. The Canzonetta was based on a thirteenth-century
Troubadour’s song which the composer had researched for his
film score to Henry V. It is not an exact transcription
of the song; however the piano does echo the sound of a strumming
stringed instrument. The melody is profound and moving. The
following Scherzando is also inspired by the troubadour
tradition, but is a little spicier than music of that earlier
era would have allowed.
Arnold Bax’s Legend for viola and piano is dark-hued
and introspective. It explores the composer’s fascination with
the Celtic twilight. It was composed in 1929 for Lionel Tertis
whom Bax had met at the Royal Academy of Music. If there is
any criticism of the piece it is that for a work lasting some
ten minutes, there are many mood changes. These range from ‘the
downright sinister to the dreamlike’ all in the space of a handful
of bars. Yet it is a well written piece that exploits the ‘voice’
and technique of the viola. There is no suggestion as to what
the ‘legend’ may actually be.
The four Frank Bridge pieces, Berceuse, Sérénade
and Elégie, are well known in their original guise for
either violin or cello and piano. The final Cradle Song
was originally a mezzo-soprano song to words by Alfred, Lord
Tennyson. All four numbers work well for the viola and are welcome
additions to the repertoire. They were transcribed by Veronica
Leigh Jacobs, who was a friend and confidante of Rebecca Clarke.
I had not heard the short Intermezzo by Arthur Bliss
before. This miniature was transcribed by Watson Forbes from
the middle movement of the composer’s Piano Quartet which dates
from 1915. Bliss played the viola and also contributed an important
Sonata for that instrument. He once described the viola as ‘the
most romantic of the instruments: a veritable Byron in the orchestra’.
He added that the viola’s ‘rather restless and tragic personality
makes it an ideal vehicle for romantic and oratorical expression.’
The transcription may have been made before the original work
was first performed: however it was not published until 1950.
It is a light piece that plumbs no great depths, but is attractive,
‘nimble footed’ and melodic. Watson Douglas Buchanan Forbes
(1909-1997) although born in Gloucestershire was a Scottish
violist and classical music arranger. >From 1964 to 1974 he
was Head of Music for BBC Scotland.
I have loved the Romance for viola and piano by Ralph
Vaughan Williams since first hearing this piece some twenty
years ago. The work was discovered amongst the composer’s papers
after his death. It was probably composed around the outbreak
of the Great War and may have been written for Lionel Tertis.
His friendship with Tertis resulted in Flos Campi and
the Suite for Viola and Orchestra. Paul Spicer has well described
this work as being ‘small in scale but large in dramatic effect’.
A fine balance is struck between the pastoral opening and the
involved central climax.
For me, the great discovery of this CD is the Suite for Viola
and piano by Theodore Holland. I will need to hear this work
a number of times and, perhaps, a perusal of the score may help
to gain a better understanding of this piece. However on first
hearing, this is a fine work that is both attractive and beautiful
in its execution. The Suite is in three well-balanced movements
that are approachable and satisfying. The mood of the entire
suite is typically optimistic however there are some moments
of reflection, especially in the ‘romance’. This is not a derivative
work: it is not easy to tie down the influences. Certainly there
is little in the way of ‘modernism’ but neither are there any
‘farmers in smocks’.
The opening movement has some of the most involved music that
maybe owes something to Bliss’s Viola Sonata. However the tension
of the opening bars soon gives way to a more lyrical conversation
between soloists.
The Romance is truly lovely - ‘haunting’ but never despairing.
This is passionate, soul-searching music that moves the listener.
It is almost impossible to hear this movement without being
baffled as to why this work has been ignored for so long.
The final ‘allegro vivace’ has a trippy, ‘jazzy’ feel to it,
without it being jazz. It is a movement of two parts – the lively
outgoing outer sections contrasting with a mysterious, introverted
middle section. This Suite in D is certainly one of my major
discoveries of 2011 (so far). I hope that Holland’s music can
be explored in greater detail in coming years.
This is an excellent CD. The programme is well-balanced, with
a good selection of original works and arrangements. The two
major pieces are stunningly and convincingly played by Matthew
Jones and Michael Hampton: the shorter works are also given
enthusiastic and sympathetic performances.
This is essential listening for all chamber music enthusiasts,
be they committed to the cause of British music or not. The
repertoire of original music for viola and piano is not huge;
however this CD disc has presented a few new discoveries to
the interested listener. It deserves every success.
John France
Matthew Jones (viola); Michael Hampton (piano) 
