One of the most grown-up review sites around
One of the most grown-up review sites around

Search MusicWeb Here
 

 

International mailing

  Founder: Len Mullenger              Founding Editor: Rob Barnett              Contact Seen and Heard here

Some items
to consider

  • Sammartini: 6 Concerti grossi
  • Henze Kammermusik 1958
  • Mozart Flute Quartets
  • Schubert complete piano works
  • Sammartini: 6 Concerti grossi
  • Henze Kammermusik 1958
 
Tudor



CD and Blue-ray Audio


CD and Blue-ray Audio


CPE Bach Cantatas
a revelation


Biber: Sacred Choral Works
Don't miss it


Jonathan Dove


Tommie Haglund
Unique and Powerful music


Organ Fireworks


Highly Entertaining


A triumphant performance


Bruckner Symphony 4
One of the finest I have heard


A most joy-inducing recording


A winning partnership


A Lohengrin to treasure.

 

REVIEW Plain text for smartphones & printers

Support us financially by purchasing
this through MusicWeb
for £12 postage paid world-wide.

The Stanford Legacy
Charles Villiers STANFORD (1852-1924)
Clarinet Sonata Op.129 (1911, arr. viola by Henry Waldo Warner, 1919) [19:14]
Rebecca CLARKE (1886-1979)
Viola Sonata (1919) [23:00]
John IRELAND (1879-1962)
Violin Sonata No.1 (1908-09, rev. 1917/1944, arr. viola by Martin Outram) [26:01]
Martin Outram (viola)
Julian Rolton (piano)
rec. July 2015, Wyastone Hall, Monmouth
NIMBUS NI6334 [68:15]

Stanford’s legacy here is both compositional and pedagogic. His own Clarinet Sonata, Op.129 is performed in the arrangement for viola by Henry Waldo Warner, whilst his students Rebecca Clarke and John Ireland are also represented. Clarke’s Viola Sonata is now a repertory piece but Ireland’s Violin Sonata No.1 is heard in a recent arrangement for his own instrument by the violist Martin Outram. Two arrangements thus surround the Clarke’s Sonata which, in one of those quirks of reviewing fate, I’ve very recently listened to in its authentic arrangement for Cello. The head spins with all these alternative instrumentation choices.

Stanford approved of Waldo Warner’s arrangement. Warner (1874-1945) was the violist of the London String Quartet succeeded (very briefly indeed) by the instrumentalist-composer Philip Sainton and then by William Primrose. Warner was also a composer, a prize-winning Cobbett one no less, and his Stanford arrangement was published in 1919. Outram plays it with athletic incision and his taut tempi ensure that the music never sags. He’s helped by Julian Rolton’s strong-hewn pianism, not least in the beautiful Caoine second movement, where the element of keening implicit is a good fit for the viola’s melancholic tone. Outram’s phrasing in the finale’s very beautiful central panel, so full of lyric beauty, is admirable.

Lionel Tertis arranged both Ireland’s Violin Sonata No.2 and the Cello Sonata – both with the composer’s imprimatur - so Outram’s work enters exalted waters. The Outram-Rolton duo reprises its liking for fastish tempi in this reading as if willing the slower-to sound viola ever onward in competition with its violin sister. Even allowing for Ireland’s own repeated strictures about letting each chord have its due weight, there is a great difference between Ireland’s own recording of the Sonata with violinist Frederick Grinke – measured but not exactly slow – and Outram and Rolton’s decidedly bullish sense of direction. I rather like their approach, Outram cleaving to the alto-ish side of things tonally rather than a burnished expressive Tertis-like romanticism. Their stylish urgency never really sounds breathless in the first two movements. In the finale they can’t quite match violin counterparts who are able to articulate that much faster. Nevertheless, this is a refreshingly direct reading in a première recording.

Outram catches very well the folkloric elements of Rebecca Clarke’s sonata. Phrasing here is natural and free, dynamic gradients well established and the ruminative paragraphs are convincing. The central quick movement has plenty of accustomed Outram vitality and the finale finds the music’s movement from almost threnodic to drivingly martial is manoeuvred perceptively by both musicians.

This is an imaginatively conceived programme. I’ve not come across Warner’s arrangement on disc before and the Ireland is clearly a real novelty. Clarke’s Sonata has probably not received a much better recording than that by Tabea Zimmermann and Kirill Gerstein on Myrios Classics (MYR004 - review). But, in a good, unspotlit acoustic, and in their leaner way, the Outram-Rolton duo proves a highly effective ambassador for all this music.

Jonathan Woolf



 

 




Gerard Hoffnung CDs

Advertising on
Musicweb



Donate and get a free CD

 

New Releases

Naxos Classical



Musicweb sells the following labels
Acte Préalable
(THE Polish label)
Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
   Vacant
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger