Bowen and Walton Viola Concertos (CD Review)

by Ryan Ross

York Bowen: Concerto for Viola and Orchestra, Op. 25; William Walton: Concerto for Viola and Orchestra in A Minor. Diyang Mei, violist; Brett Dean, conductor; Deutsche Radio Philharmonie. SWR Music SWR19158CD

 

As far as I can tell, this is the first time that the York Bowen and William Walton Viola Concertos have appeared together on the same recording. Given how small the viola concerto repertoire is, this may be somewhat surprising at first glance. But most who are familiar with both works would probably say that it’s a decidedly uneven pairing. It’s not so surprising that the Bowen has been committed to disc only about four times previously. Despite making a good impression in its early days, it is just not in the same league as the Walton Concerto. Bowen is one of those composers I want to love, one who wrote loads of meat-and-potatoes instrumental repertoire that I was once eager to jump into. But while he had remarkable craft and facility, he didn’t possess much of a vision. His music is nice in the moment and difficult to recall afterward.

In some ways this pairing is unfortunate for its musicians. Had they offered up the Cecil Forsyth Viola Concerto (for example) with the Bowen instead of the Walton, as Lawrence Power did with Martyn Brabbins and the BBC Scottish Symphony Orchestra (Hyperion CDA67546), they might have produced a consistently fine effort. Instead, what we have is Diyang Mei and company playing with skill and polish in the Bowen and struggling with the higher expressive stakes of the Walton. In the former, these musicians deliver each pleasant but inconsequential theme with sparkle and convey a strong sense of the whole…such as it is.

Walton toiled over his creations with little of the ease Bowen exercised. If we’re honest, that toil produced a smallish and uneven output. But when his inspiration was hot, the results could be distinguished beyond anything of which Bowen was capable. Sometimes Walton’s inconsistency persisted in these distinguished efforts, as in a First Symphony that joins a world-beating torso with a decidedly weaker conclusion. In the Viola Concerto we have high inspiration with matching realization, a balance he never quite equaled again. Its musical depths test performers in ways that Bowen’s concerto does not. One is a masterpiece, the other isn’t.

I find Diyang Mei and company at times unequal to these depths. The Walton is essentially an introspective work with flashes of drama. More than this, it’s an integrated whole with subtle momentum that should not be allowed to flag. Mei and company often bounce along too insouciantly, especially in the middle and final movements. The latter just gets too bogged down at times, with atomized phrases and visible seams. I also find that the orchestra occasionally smudges lines and timbres. Thematic statements occasionally need to come off more sharply. In the first movement the intense, rhythmic entries of the brass and percussion behind the virtuosity of the soloist are under-delivered, obscuring the character of this important material. Mei’s playing is generally good, and there are plenty of fine moments across his performance. But the interpretation needs an overall firmer grip of the work’s spirit. 

In sum, we have something less than a qualified success and something more than a qualified failure. I’d guess that for most listeners the prospect of a so-so Walton rendition pairing is not a compelling reason to consider this very good Bowen. Things would be different if we were instead given a solid account of either the Rubbra or Arnold Viola Concertos (for example) to accompany Sir William’s own. But we weren’t, and so I’ll simply recommend this to Bowen fans (however many there are to be found) and collectors of Walton Viola Concerto performances. Everyone else’s precious time and money are better directed elsewhere.

Some New Releases (CD mini-reviews)

By Karl W. Nehring

After being closed for many months because of the pandemic, a few days ago my favorite public library partially reopened. I stopped by to see what might be available and was pleasantly surprised by the amazingly large number of new classical CDs in the rack. I greedily grabbed 10 to check out, but by some strange machinations of moral reasoning I concluded that to take home 10 was just too darn greedy, so I wound up reconsidering my choices carefully and ended up walking out the door with a mere nine CDs and a 10% better opinion of myself. With neither the time, space, nor motivation to offer full reviews, I thought it would be at least useful to publish some brief remarks and recommendations concerning these recently become available releases; I hope this proves to be of at least some minor usefulness to our Classical Candor readers. “And away we go!”

Bach | Brahms | Berg: Antonio Chen Guang, piano. (Steinway & Sons 30069)
Pianist Antonio Chen Guang, winner of the first Olga Kern International Piano Competition has chosen a rather unusual program for this release, comprising Bach’s Italian Concerto, Brahms’s Variation and Fugue on a theme by Handel, and Berg’s Piano Sonata. To my ears, his performance of the Bach, one of my favorites, is a little smoother than ideal, but is still a fine performance in excellent sound. The elephant in the room for this CD is the sheer eclecticism of the program. Personally, I would rather listen to the Berg than the Brahms. Many others no doubt feel quite the opposite, but it is hard to imagine many folks being excited about this particular concatenation  of compositions by these particular three B’s, which might appeal as a one-time live recital performance but not so much as a CD to be played again and again.  

Beethoven Reimagined: Gabriel Prokofiev, electronics; Yaniv Segal, BBC National Orchestra of Wales. (Naxos 8.574020)
2020 marks the 250^th anniversary of Beethoven’s birth, replete with tributes of all sorts (although certainly diminished by the pandemic in terms of live events). Naxos gets into the spirit of things with a lively and stimulating release featuring an arrangement for orchestra of his Violin Sonata No. 7 by Garrett Schumann  (b. 1987) and conductor Yaniv Segal (b. 1981) that they have titled Sonata for Orchestra in C minor, Op. 30, No. 2b. No fancy tricks or sounds here, just a solid orchestral performance of a piece that sounds as if could have been composed by Beethoven, which of course it was, actually. Very nice! It is followed by A Fidelio Symphony, an instrumental suite arranged by Segal of music from Beethoven’s lone opera. Again, very straightforward and very nice. The final piece on the program is BEETHOVEN9 Symphonic Remix (2011) by Gabriel Prokofiev (b. 1975), which does give us some fancy tricks and sounds, as Prokofiev reimagines the final movement of Beethoven’s immortal Ninth in an arrangement for electronics and orchestra. Yes, it is strange trip, but it is also a joyous journey. All in all, Beethoven Reimagined succeeds brilliantly as an imaginative and enjoyable tribute to LvB.

British Violin Sonatas, Volume Three: York Bowen, Sonata op. 112; John Ireland, Sonata No. 2; James Francis Brown, The Hart’s Grace; William Alwyn, Sonatina; Eric Coates, First Meeting. Tasmin Little, violin; Piers Lane, piano. (Chandos CHAN 20133)
As you might expect by the time you get to a third volume of just about any recording project of this type, this program consists of works that are not widely known, especially on this side of the pond. But particularly for lovers of the violin, this is an interesting collection of some enjoyable music. Tasmin Little has had a long and distinguished career as one of the preeminent British violinists and she plays these pieces with skill and love. As a big fan of the orchestral music of William Alwyn, I was especially eager to audition his Sonatina, which turned out to be a real treat for my ears and soul. The Coates First Meeting, which was my first meeting indeed for this piece, ends the program wistfully and wondrously, capping a most enjoyable recital by musicians Little and Lane. If you enjoy music for the violin, then you really might want to give this fine recording a listen.

Cello Libris–Works by Geoffrey Gordon. Program includes Concerto for Cello and Orchestra; Fathoms; Ode to a Nightingale. Toke Muldrop, cello; Lan Shui, Copenhagen Phil; Mogens Dahl, Mogens Dahl Chamber Choir; Steven Beck, piano. (BIS 2330)
This is a disc likely to appeal foremost to those listeners not afraid of somewhat challenging contemporary music, especially those with a passion for the expressive capabilities of the cello. American-born composer Geoffrey Gordon (b. 1968) highlights the expressive capabilities of the cello in three rather varied and challenging works, each of which takes literature for its inspiration. The Concerto, which is in eight rather than the usual three or four movements, refers to Thomas Mann’s Doctor Faustus. It is hardly tuneful, but those with a tolerance for more modern composition styles should not be driven out of the listening room and in fact may be swept away by the sheer energy of the playing. Next up is Fathoms for cello and piano, which consists of a prelude followed by five impressions of Shakespeare’s The Tempest. Again, Moldrup’s cello gets quite a workout in this frenetic and imaginative extended sonata.  The final piece, Ode to a Nightingale, which refers to the Keats poem, combines cello and chamber choir in a composition that has some fascinating moments but strikes my ears at least as reaching a bit too far. If you are a fan of the cello and enjoy more “out there” music, this generously filled (81:40) release might be worth an audition. More conservative listeners will probably be well advised to pass. 

Ciurlionis: Kestutis Overture; In the Forest; The Sea. Modestas Pitrénas, Lithuanian National Symphony Orchestra (Ondine  ODE 1344-2)
It is always interesting to discover a new composer and delightful when the music turns out to be enjoyable. These three compositions by the Lithuanian composer Mikalojus Konstantinas Ciurlionis (1875-1911) are all quite enjoyable and should appeal to a wide spectrum of classical music fans. They are squarely in the European tradition, tonal and tuneful, with drama and sweep, particularly in The Sea. Should you be looking to hear some enjoyable orchestral music that you most likely have never heard before, this fine new release from Ondine would be a good one to audition.

The Diabelli Project: Rudolf Buchbinder, piano. (Deutsche Grammophon 483 7707)
Those of us old enough to remember discovering rock music in that crazy decade of the mid-60s through the mid-70s well remember the “concept album” and the “double album,” exemplified in one fell swoop by the Who’s Tommy. Today, those of us still alive and kicking in the COVID-19 era, as well as those younger listeners who have developed an interest in classical music, now have a new concept double album to enjoy. This remarkable release from the venerable Rudolf Buchbinder consists of two CDs. The first contains Buchbinder’s performance of Beethoven’s Variations on a Waltz by Anton Diabelli in C major, the second includes his performance of Diabelli’s original waltz followed first by New Variations on a Waltz by Diabelli, comprising 11 variations by contemporary composers, which is in turn followed by eight variations penned by composers such as Hummel, Liszt, and Schubert. For those who delight in piano music, this thoughtfully imaginative release should be quite the delight.

KWN

British Music for Viola and Orchestra (CD review)

by Karl Nehring

Vaughan Williams: Suite for Viola and Orchestra (Group 1); Howells: Elegy; Walton: Viola Concerto; Bowen: Viola Concerto. Helen Callus, viola; string quartet comprising Mesa-Matti Leppanen and David Gilling, violin; Vyvyan Yendoll, viola; David Chickering, cello (principal players of NZSO); Marc Taddei, New Zealand Symphony Orchestra. Naxos 8.573876

Viola players sometimes lament not having available to them nearly the noteworthy repertoire that composers have heaped upon their colleagues who play the violin or cello. British-born violist Helen Callus, currently a Professor of Viola at Northwestern University, is a virtuosa of that instrument whose playing on this CD should go far to enhance the reputation of the viola and demonstrate that there is some excellent if underappreciated viola repertoire that deserves wider hearing. This is a gorgeous disc from start to its finish more than 78 minutes later.

The program opens with music by Ralph Vaughan Williams (1872-1958), who wrote some truly memorable music spotlighting the viola, such as Flos Campi (well worth seeking out if you have not yet heard it). The music on this disc consists of the first three movements of his eight-movement Suite for Viola and Orchestra (1934). The opening Prelude features a fairly simple tune with the viola leading out, accompanied mainly by strings, with some nice writing for flute as the music wends it way though just over three minutes. The second movement, Carol, is slower and more pensive in temperament. The winds make an appearance to accompany the viola early on, with the flute stepping up toward the end to intertwine melodically with Callus's viola before the brief two minutes wind down to a quiet ending. The final Christmas Dance is even shorter, but features a boisterous dance tune that makes for a jolly, upbeat ending to the brief but entertaining set. 

Next up is a piece by Herbert Howells (1892-1983) that probably few music lovers have ever encountered, his Elegy (1917) for viola, string quartet, and string orchestra. Callus opens the music with a solo, mournful in mood – as you would expect for an elegy – and is then joined by the orchestral strings. She takes another wistful solo later, and then there is some more mournful music from the quartet before being rejoined by the fuller complement of strings. Some restless churning passages underpinned by the lower strings are then joined by the viola, with the quartet then following. The orchestra comes in very softly, Callus's viola sounds floating over them, as Elegy winds down to a thoughtful, quiet ending. Such a wonderful discovery it is to encounter music of such serene sublimity!

Helen Callus

Following Howells in order of birth is William Walton (1902-1983), a prolific British composer whose Viola Concerto was first composed in 1928-1929, revised in 1936-37, then revised yet again in 1961. Walton targeted the piece for viola virtuoso Lionel Tertis, who declined to play it because it sounded "too modern" for his sensibilities. None other than the composer Paul Hindemith (also a violist) then took up the score and gave the premier performance in 1929. Incidentally, Hindemith's own composition Der Schwanendreher (1935) for viola and orchestra stands today as one of the staples of the repertoire for violists. As played so persuasively by Callus and the NZSO under the direction of Maestro Taddei, it is hard to imagine this music being too modern for the sensibilities of all but the most hidebound listener today. As the slow opening unfolds, the sound of Callus's viola floats above the accompaniment of the orchestra. Continuing on, moments of energy are counterbalanced by moments of quiet introspection, with the sound of the viola at times being augmented by the woodwinds. Toward the end, the viola is joined by a violin, then a flute, until the movement ends with the sound of the viola. The second movement is more spirited and energetic, with more input from the brass section of the orchestra. Callus plays in the higher registers at first, later shifting downward and projecting a restless feeling, the music being punctuated by brass and drums. The third movement begins with something of a marchlike sound and cadence, morphing into more a dance-like feeling. As the movement continues, the musical energy ebbs and flows. Enthusiasm and reflection have their turns, ultimately winding down though some passages of deep tenderness, the piece ending in peaceful repose.

Some time ago I received a Tweet from noted Chicago-area violist Michael Hall suggesting that I might want to give a listen to the Viola Concerto of York Bowen (1884-1961), a composer who was entirely unknown to me. I did a quick search on my phone and found a version that I did a cursory listen to (it was one of those evenings when I had three or four things going on at once so I was not able to focus on the music). Because I had never heard of York Bowen, I assumed that he must be some contemporary composer, and for whatever reason got the idea he was from Australia. I decided I would like to listen to his concerto more seriously sometime but never quite got around to it. When I recently discovered a bag containing a few CDs I had purchased a long while back, you can imagine my pleasant surprise when I found that included, of all things, the Bowen piece. A further surprise was my discovery that rather than being a contemporary Australian composer, he was a British composer who was born in the 19th century (missed it by THAAT much)! 

At any rate, his Viola Concerto, which he completed in 1907, was also written for Lionel Tertis, who apparently found it more to his liking than the Walton, for he gave the piece its premier performance in 1908. A century later, Ms. Callus has given us a stirring performance that has been expertly recorded so that we can enjoy this beautiful, melodic music at our leisure. The first movement opens briskly, with the viola spinning rhapsodic strings of sound that are supplemented by other section of the orchestra as the movement unfolds. The opening theme is echoed later in the movement, which comes to an end with a lively flourish. The middle movement opens with the strings, then the winds, and then the viola makes its presence known. The mood is more serious and resolute, but melody still prevails, the movement ending with Callus playing most tenderly and tranquilly. The third and final movement is more swift and rhythmic. After an exuberant orchestral section that comes to a big climax, Callus spins out an extended solo that feels like a cadenza. The orchestra then returns, the viola picks up the energy, and the concerto comes to an end with a big, exuberant chord. Bravo and Brava!

The sound quality is excellent throughout, with a good sense of depth, no sense of harshness or glare, and a neutral tonal balance. There is not much low bass, but that is a function of the music, not the engineering. At more than 78 minutes in length, this CD offers wonderful value and I recommend it highly to those who love that beautiful British sound. Helen Callus is certainly not a violist who did not practice hard enough – she is a top-tier virtuosa of a wondrous instrument. All hail the mighty viola!