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David
EARL (b.1936)
Cello Sonata (1998) [29:29]
Piano Suite No. 3 Mandalas (1996)
[29:20]
George Corbett (cello); James Sherlock
(piano); David Earl (piano)
rec. Trinity College Chapel, Cambridge,
July 2006. DDD
DIVINE ART DDA25060 [58:51]
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David Earl was born in South Africa.
Having moved to London in the early
1950s he has performed widely as a professional
pianist. The Bliss and Joubert piano
concertos are numbered amongst his repertoire.
His career as a composer began in 1980
and his list of works is impressive.
The piano concertos are from 1980 and
2007. In addition there are concertos
for cello (1998), violin (1990) and
trumpet (2005). His piano solo suites
are: Mosaics, Gargoyles and
the present one featured here. There
is also a symphonic setting of Intimations
of Immortality to join the Finzi
and the Somervell. You can find out
more at www.davidearl-pianist.net
This ambitious Cello
Sonata was premiered in 2006 by
the artists who made this recording.
The work is in three movements the first
of which has a very grand Rachmaninovian
sweep and follow-through. The central
moderato assai is a most beautifully
nuanced meditation which, as with the
rest of the music, stays pretty firmly
rooted in tonality. This is no obstacle
to tension and stormy passion. The finale
is marked Elegiaco. The sonata
was written in the late summer on the
North Norfolk coast. This performance
is movingly done although the demands
on the cellist result in slight tremors
and falterings from time to time. The
style should present no problems if
you already enjoy the cello sonatas
by Fauré, Moeran, Rachmaninov
and Foulds. This is a moving work and
I do hope that one day I will be able
to hear the concertos for cello and
violin; not to mention the two piano
concertos.
The Third Suite
was first performed by the composer
at the Maidenhead Music Society concert
on 27 April 1997. The notes tell us
or remind us that Mandala is
a Sanskrit word meaning circle or ring.
The five movements include three short
preludes which refer to the three protective
Mandalas. The first is crystalline and
flamboyantly Rachmaninovian in the manner
of the Etudes-Tableaux. This
is music that shimmers and flames. Harmonic
collisions explode before the third
movement Lento explores a MacDowell-like
simplicity of utterance that glitters
with the unadorned directness of de
Hartmann. After these three short movements
the fourth is the Adagio ma non troppo:
... a mandala of the Five Archetypal
Buddhas. This lasts almost quarter
of an hour. It moves through a realm
of rhapsodic meditation which at times
looks backwards to the Java Suite
by Godowsky and to the piano music
of Debussy. The notes tell us much about
the Five Wisdoms but this is
music that can be comprehended and appreciated
for its own heard values. It carries
a certain peaceful cargo and an absorbing
concentration of purpose. The composer
is a fine advocate of his own music.
Rob Barnett
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