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JOEL BELGIQUE & SVOBODA - Mid-century Modern-four Sonatas For Viola & Piano - CD
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eBay item number:226090568452
Item specifics
- Condition
- UPC
- 672617057427
- Type
- CD Baby
- Artist
- Belgique, Joel & Svoboda/Lewis
- Format
- CD
- Release Year
- 2011
- Record Label
- CD Baby, Cdb
- Release Title
- Mid-Century Modern-Four Sonatas for Viola & Piano
- Genre
- Classical Artists
About this product
Product Identifiers
Record Label
CD Baby, Cdb
UPC
0672617057427
eBay Product ID (ePID)
3046053509
Product Key Features
Format
CD
Release Year
2011
Genre
Classical Artists
Artist
Belgique, Joel & Svoboda/Lewis
Release Title
Mid-Century Modern-Four Sonatas for Viola & Piano
Dimensions
Item Height
0.38 in
Item Weight
0.19 lb
Item Length
5.61 in
Item Width
5.10 in
Additional Product Features
Number of Tracks
12
Number of Discs
1
Tracks
1.1 Rebecca Clarke Sonata for Viola and Piano: I. Impetuoso 1.2 Rebecca Clarke Sonata for Viola and Piano: II. Vivace 1.3 Rebecca Clarke Sonata for Viola and Piano: III. Adagio 1.4 Sonata for Viola and Piano: I. Allegretto 1.5 Sonata for Viola and Piano: II Andante Espressivo 1.6 Sonata for Viola and Piano: III Allegro 1.7 Jacob Avshalomov Sonatine for Viola and Piano: I Allegro Appassionato 1.8 Jacob Avshalomov Sonatine for Viola and Piano: Lento 1.9 Jacob Avshalomov Sonatine for Viola and Piano: Allegro Con Brio 1.10 Tomas Svoboda Sonata for Viola and Piano: Allegro 1.11 Tomas Svoboda Sonata for Viola and Piano: Lento 1.12 Tomas Svoboda Sonata for Viola and Piano: Allegro Con Humore
Notes
??mid-century modern four sonatas for viola and piano ?? It ?has been said that the long neglect of the viola as a solo instrument was due in large measure to the dearth of talented players. That situation was reversed irrevocably in the early twentieth century, as the instrument finally came into it's own - thanks to the efforts of great perform- ers such as Lionel Tertis, Maurice Vieux, and William Primrose, who inspired scores of renowned composers to write new works for the repertoire (and, in the case of Tertis, even contributed improvements to the design of the instrument itself). In the words of Jacob Avshalomov, the viola offers a "unique spectrum of sound, which ranges from the sombre and gruff through mellow- ness and vibrancy into lyricism without loss of power." The works featured on this recording (not least Avshalomov's Sonatine) require the violist to elicit all of those qualities and more, as they explore and extend the expressive possibilities of the viola-piano pairing. The range of stylistic influences in these pieces is broad - Impres- sionism, Neoclassicism, folk music, polytonality - yet they never become mere formal essays. Deeply felt, following the narrative arc embedded in the sonata form, each piece becomes a journey in sound; taken together they form a travelogue through the early and middle decades of the century. As listeners, we are fortunate indeed to have Joël Belgique and his compatriots, whose playing is at all moments passionate, rivetingly focused, and beautifully nuanced, as our guides on this sojourn. David Abel rebecca clarke sonata for viola and piano (1919) Rebecca Clarke was born in Harrow, England, in 1886, to an Ameri- can father and German mother. She began to study the violin at the age of eight, and in 1902 entered the Royal Academy of Music, where she continued her violin studies and began to compose. Though her father disapproved of her desire to become a professional musician, he sent some of her songs to Sir Charles Stanford, professor of composition at the Royal College of Music, and mentor to a generation of English composers (Vaughn Williams, Holst, Ireland, Bridge, and others). In 1907 Clarke became one of Stanford's first woman students; at his suggestion, she joined the college orchestra and switched to the viola. In 1912, she became the first female member of the Queen's Hall Orchestra; her career as a violist blossomed after the First World War, and she was a much-sought chamber musician whose partners included Artur Schnabel, Pablo Casals, Jacques Thibaud, Artur Rubinstein, and Percy Grainger, among many others. She made regular visits to New York and participated in Elizabeth Sprague Coolidge's chamber music festivals in Pittsfield, Massachusetts, beginning in 1916; in 1923 she made a world tour, and in 1925 gave a concert of her own works in Wigmore Hall, London, featuring Myra Hess. Clarke divided her time between England and the United States during the 1930s; she was forced by English authorities to stay in New York at the inception of World War II, and lived the rest of her life in the States. In 1944 she married pianist and composer James Friskin, who had been a fellow student at the Royal College; she retired from performing and for the most part gave up composing. When she died in New York in 1979, at the age of ninety-three, she had been mostly forgotten, and most of her compositions remained unpublished. In the 1990s renewed attention was given to her work, including the beginning of a spate of recordings that continues; in 2005 the Rebecca Clarke Reader was published, edited by Liane Curtis, including Clarke's writings on music, several interviews with the composer, and essays on her life and work. Clarke's early fame as a composer was due to two works, the Sonata for Viola and Piano and the Trio Sonata, both submitted to competitions spon- sored by Elizabeth Sprague Coolidge, and both second-place winners (in 1919 and 1921, respectively). The V
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