Naxos continues its
valuable Bridge series with yet more
superbly performed chamber works. It
is apparent from the start that these
are muscular, stimulating pieces that
are well worthy of revival. An intelligent
feature of the programming is the juxtaposition
of early and late pieces, as in the
earlier release of Quartets 1 and 3,
and so here with 2 and 4 we get a clear
picture of Bridge’s development as a
composer, particularly how his musical
language altered quite drastically.
What comes across strongly
with the Quartet No. 2 is the ardent
energy of the first movement, launched
by the first violin without prelude
or preamble. A strong second subject
is given over to Bridge’s own instrument,
the viola, and typifies the lyricism
of works of this period, which Andrew
Burn’s liner-note rightly says come
into the orbit of Delius around this
time. Indeed, he also points out that
there is cross-referencing of thematic
material from Bridge’s major orchestral
work of the same year, Summer,
in the quartet’s andante con moto.
Overall, there is a breezy, outgoing
confidence and mastery of material throughout
this piece, which Burn refers to as
‘undoubtedly Bridge’s first chamber
masterwork’.
The contrast with his
Quartet No.4 couldn’t be greater. Here
the musical language has taken on a
more dissonant, chromatic nature that
clearly links it to central European
trends, particularly the Second Viennese
School. Burn points to the score’s various
markings of ‘impetuoso’, ‘frenetico’,
‘agitato’ as a clue to its character
and one senses a distinct unease and
sense of anxiety in the Bergian harmonies.
The first movement’s second subject,
once again on viola (1’50), is more
traditional and lyrical, but cannot
dispel this impression. The short second
movement minuet, with its wispy trills,
obsessive little rhythms and angular
melodies, is reminiscent of Schoenberg’s
Second Quartet and parts of Berg’s Lyric
Suite. If this trend worries you,
the finale dispels what the first two
movements have created. After a somewhat
pensive opening, the material echoes
his earlier style, more tonal, lively
and ebullient, ending with affirmative
confidence. As a whole, I find the piece
the more satisfying of the two, but
there is no doubt that it is worth hearing
them side by side, especially in performances
so persuasive and imaginative.
The short Piano Quartet
is one of his many excursions into the
phantasy form and is the earliest
work on the disc. It is hardly groundbreaking
in its originality, but is impossible
to dislike and makes an excellent foil
for the two quartets.
Production values are
high, with superb recording quality
from the much-favoured Potton Hall and
scholarly notes. Another winner.
Tony Haywood
Martin Roscoe (piano) 
