Composer: Arnold Bax
Works: Violin Sonata No. 2 in D Minor
Performers: Tasmin Little (violin), Martin Roscoe (piano)
Recording: GMN CD GMNC 0113
Label: GLOBAL MUSIC NETWORK
The Second Violin Sonata by Arnold Bax, composed in 1915 yet not publicly performed until 1922, occupies a unique position within the landscape of British chamber music. Often overshadowed by the more widely recognized works of his contemporaries, this sonata reveals a complex tapestry of emotions reflective of the tumultuous era during which it was created. Bax’s music, particularly in this sonata, draws upon rich thematic development and cyclic structures, echoing the influence of César Franck while establishing a distinct voice that intertwines brooding introspection with moments of expansive lyricism.
Tasmin Little’s interpretation of the Elgar Sonata, paired with Martin Roscoe’s responsive piano work, is nothing short of exquisite. Little’s warm tone and expressive phrasing breathe life into Elgar’s lyrical lines, particularly in the sonata’s expansive second movement, where the duo captures the nuanced interplay between melancholy and hope. Roscoe’s accompaniment is both supportive and assertive, ensuring that the dialogue between violin and piano remains dynamic throughout. Their synergy is particularly notable in the recapitulation of the middle movement’s theme, where the emotional weight of the music is palpably felt.
Transitioning to the Bax sonata, the performance shines with an understanding of the work’s intricate architecture. The cyclic motif that permeates this four-movement structure is deftly articulated, especially in the opening movement, marked “Slow and gloomy.” Here, the performers navigate the thematic material with a deliberate pacing that sets a compelling atmosphere before launching into the vigorous Allegro. The thematic material, particularly the rising piano figure, is performed with just the right balance of tension and release, showcasing both the ferocity of the writing and the lyrical beauty that follows.
The second movement, “The Grey Dancer in the Twilight,” is a highlight, where the contrast between the carefree waltz and the underlying tragedy of its thematic content is masterfully executed. Little and Roscoe’s interpretation captures the movement’s paradoxical nature, providing a sense of whimsy that belies the darker implications of the music. This interplay is further enriched by the performers’ attention to Bax’s detailed markings, which guide the emotional narrative throughout the work. The third movement, with its Debussy-like echoes, serves as the emotional core of the sonata, where the musicians exhibit a deft touch in conveying both delicacy and profound depth.
The engineering quality of this recording is commendable, with Mike Hatch achieving a rich and natural sound that allows the subtleties of both instruments to shine. The balance between violin and piano is particularly well realized, ensuring that neither overpowers the other, which can often be a challenge in chamber music recordings. The warmth of the sound complements the expressive qualities of the performance, allowing for a truly immersive listening experience.
Comparatively, this recording stands out amidst the limited discography of Bax’s violin sonatas; it is only the third recording of this work, following earlier interpretations that, while valuable, do not capture the same level of interpretative clarity and emotional depth. Little and Roscoe’s familiarity with the repertoire, honed through numerous concert performances, is evident in their cohesive and confident delivery.
The synthesis of Bax’s intricate musical language with the performers’ technical prowess and interpretative insight results in a compelling listening experience that underscores the sonata’s significance within the chamber music canon. This release is not just a commendable addition to the catalog of British music but also a celebration of Bax’s artistry, making it essential listening for both connoisseurs and newcomers alike.
