Graham Waterhouse was
trained as a cellist and as a composer,
and is heard here in both capacities.
Though he has composed a number of orchestral
or ensemble works, some of which are
now available on Meridian CDE 84510
(reviewed
here a few weeks ago), he also has a
good deal of chamber music to his credit,
some of which are included in this release.
Several works here
are either for cello or with cello;
and one of the most substantial pieces
in this selection is the Three
Pieces for Solo Cello Op.28
completed in 1996 and dedicated to Siegfried
Palm. A short, vivacious and often whimsical
Scherzo of considerable virtuosity is
framed by two weightier, mostly slow
and rhapsodic movements of great expressive
strength exploiting the full expressive
range of the cello. Vezza,
"a limerick for cello and speaking
voice", stands in direct contrast;
for this funny little melodrama plays
with the word ‘Weather’ (‘Vezza’ being
the German pronunciation for ‘weather’,
so we are told). This is a splendid
encore, superbly written for the instrument
in an often funny, but subtle counterpoint
with the rhythms of the spoken words.
Bow ‘n blow,
a duo for clarinet and cello, is another
very fine piece for a fairly unusual
instrumental combination, which is as
expertly written and attractive as anything
else here.
Le Charmeur de
Serpents Op.39 is a real tour
de force in which the player alternates
between alto and sopranino recorders,
but also plays simultaneously on both
instruments. There is, however, nothing
‘experimental’ about this colourful,
attractive piece.
Contraventings
Op.46a for solo clarinet is
a free fantasy resourcefully exploiting
the whole range of the instrument, in
much the same way as in David Golightly’s
Moods or Berio’s Sequenza
IXa, and calling for a good
deal of agility, tonal variety and musicality
as well an the player’s part. A substantial
addition to the repertoire of modern,
though quite accessible music for solo
clarinet.
Gestural Variations
Op.43a, actually a theme and
six variations framed by an introduction
and a postlude, was originally written
for bassoon, oboe and piano, and re-cast
in 1998 for clarinet, cello and piano.
The six, highly contrasted variations
display a remarkable instrumental mastery,
that makes this work a feast from first
to last.
Two short piano pieces
are also featured here: the brilliant,
virtuoso Praeludium Op.32
and the perky Scherzino Op.24/2,
the latter often bringing Prokofiev’s
short character pieces to mind. The
original Toccatina Precipitando
Op.24/1 for piano was later
re-worked and slightly expanded as a
short trio for clarinet, cello and piano
heard here. This delightful, almost
minimalist piece is an exhilarating
encore and joyfully rounds-off the present
composer’s portrait.
Needless to say that
all performances here, either with the
composer or with his being around at
the time of the recording, are superbly
played throughout and – no doubt – serve
Waterhouse’s well written and attractive
music well.
Hubert Culot
Markus Schön (clarinet)cfhi;
Agnès Marc (recorders)d; Graham
Waterhouse (cello)bfghi; Michael Wendeberg
(piano)aehi 