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The E flat sonata is much lighter in mood than the F minor, with sweeter, more lyrical melodies than the stormy F minor sonata it is less classically structured than the F minor, drawing on the freer development of themes of the ‘fantasy-sonata’ style. 120, along with a clarinet trio and quintet, were the last chamber works that Brahms wrote before his death in 1897 they are considered some of his finest compositions. However, Brahms himself transcribed the two sonatas for viola, and the viola’s rich sonority and palette of colours complement the sonatas’ emotional turbulence perfectly. These were originally written for the clarinet in 1894 and dedicated to the clarinettist Richard Mühlfeld.
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Both the virtuosity of the piano part and Brahms’ melodic charms are in much in evidence in the E flat sonata, which is the second in a pair of sonatas which make up the Opus 120, along with the F minor Sonata (Op 120 No. Johannes Brahms, considered to be one of the greatest composers of the Romantic period by virtue of his exquisite gift for melody, was also a virtuoso pianist and premiered many of his own works. The order of these pieces progresses from a major work, the Brahms sonata, via a dreamy interlude (the first movement from the Walton concerto), to the virtuosic Enesco show piece, ending the programme with a flourish. All of the works performed here are from the Romantic period, and use the deep timbre and rich colours of the viola to bring out the differing moods and emotions of the music. The programme of this recital contains three staples of the viola repertoire, two for viola and piano and one for viola and orchestra (here played with a piano reduction). Now all I need to do is practice some final corners and in theory I’ll be ready… The English Northern Philharmonia gives it a rousing performance.Hot off the press (= RSAMD print room, thanks Craig!)īelow are the programme notes I have been writing over the past week for my recital on Friday as they appear in the programmes I have just printed (left!).
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Although this piece (so obviously rooted in Walton's 'Crown Imperial' mode) never made it into the series, it has survived as an occasional concert filler. The March was originally intended for the 1959 television series, A History of the English-Speaking Peoples. The Scherzando is memorable for its percussion while the skittery Vivacissimo is a delight for its carefree spirit. Variations on a Theme by Hindemith (drawn from Hindemith's Cello Concerto) was written as a return favor to Paul Hindemith who helped bring about the first performance of Walton's Violin Concerto. The Andante con modo, an exceptionally beautiful movement, features a lyrical string section against the falling figures of the piano. Walton's Sinfonia Concertante is a mercurial and stately work that occasionally brings Prokofiev to mind, especially the sparkling final movement, which recalls that composer's third piano concerto. Appropriately and exuberantly patriotic, this piece is particularly memorable for the passage for solo violin that rises above a single-note rhythm played by double basses. William Walton's 'Spitfire' Prelude and Fugue resulted from a commission for a 1942 film that paid tribute to the designer of the Spitfire plane.
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This disc was Gramophone's "Recording of the Month" for May 1999.