In 1918-1919, at Brinkwells cottage in Sussex, Elgar wrote his final completed
major works. The Violin Sonata, op. 82 was followed by the String
Quartet in E Minor, the Quintet for Piano and Strings in A Minor and
the Cello Concerto, op.85. Perhaps inevitably, given that they
were written under the shadow of the Great War, all four works imbued with
a deep melancholy. In the notes accompanying this CD, Lowri Blake records
on first hearing a concert performance of the Violin Sonata: "The dark, noble
and highly evocative Violin Sonata might easily have been written for cello.
By the end of the performance I had resolved to play the Violin Sonata myself
on the cello…"
A very accomplished musician and singer - for more information about Ms Blake
and Lowri Records see my review of The Song of the Black Swan, or
visit the web site at
http://www.lowrirecords.com
- Lowri Blake made the transcription used for
this CD herself, first recording it for Radio 3 in 1994. As she says,
"Transcribing op.82 for cello was in fact not a difficult task - I simply
play the violin part down an octave…" There are also some other few
changes, but like Frank's Violin Sonata in A, the work transposes
well to the new instrument. It is a work of darkly colour romantic intensity,
retaining all it's Elgarian character in transcription, yet inevitably now
becoming something of a more intimate companion to the Cello Concerto.
The deeper tones of the cello express perhaps a more mature, more profound
sense of resignation to loss than the violin, an instrument in the upper
registers more inclined more youthfully overwrought passion.
Lowri Blake clearly has a great love of this music, and her playing is always
thoughtfully considered, her phrasing flowing with a natural sense of argument
and development. Praise is also due for Iwan Llewelyn-Jones sensitive and
apposite musicianship. This is a demanding work, and both players give fine
performances. It obviously makes most sense to have a version of the sonata
in its original form first, but this interpretation shines fresh light into
Elgar's melancholy heart, and I am most pleased to be able to include it
in my collection.
The disc intelligently links the Elgar with two works from the same period
by Frank Bridge. First, Morning Song again composed in the latter
stages of the Great War, this short work is a piece of clear and expressive
beauty. The cello does indeed sing in this perfectly formed miniature.
Bridge's Sonata in D Minor is in two, rather than three movements,
and written over a period of four years from 1913-17, appears to have been
something of a struggle for the composer. Here is Bridge between the romanticism
of the past, and the more modern style of his later music. The opening Allegro
both agitated, yet introspective, the closing Adagio ghostly, the piano in
this recording taking a spectral life, as if afforded a glimpse of the next
world, the cello voicing almost a frozen incomprehension. Confidently realising
the space between notes as much as the notes themselves, Lowri Blake and
Lwan Llewelyn-Jones bring an insight to this haunted, impassioned music which
crosses the generations to offer a vision of a vanished world. Heartrending,
almost unbearably moving, this is very fine music-making indeed. The three
works together make an excellent programme, a most commendable and inspired
release from this creative new label.
Reviewer
Gary S. Dalkin
Visit the Frank Bridge web pages
Lowri Blake, cello &
Iwan Llewelyn-Jones, piano 
