Composer: Benjamin Britten, Ralph Vaughan Williams, Rebecca Clarke, Percy Grainger, Arnold Bax, Frank Bridge
Works: Elegy for solo viola, Romance, Lullaby no. 1, Morpheus, Sonata, The Sussex Mummers’ Christmas Carol, Arrival Platform Humlet (for solo viola), Legend, Pensiero, Allegro appassionato
Performers: Paul Coletti (viola), Leslie Howard (pianoforte)
Recording: 21-23.9.1993, location not given
Label: HYPERION HELIOS CDH55085
The compilation of English works for viola presented here showcases a rich tapestry of the 20th-century repertoire, intertwined with historical nuances and personal expressions of its composers. The contributions of Britten, Vaughan Williams, Clarke, Grainger, Bax, and Bridge illuminate the viola’s unique tonal qualities, with each composer reflecting the evolving landscape of English music in their distinctive styles. The disc positions Rebecca Clarke’s Sonata as a focal point, reaffirming her status as a significant figure in the canon, while also revealing the broader context of the viola’s flourishing under the influence of Lionel Tertis.
Paul Coletti’s interpretation of Clarke’s Sonata is particularly noteworthy. The work, a vibrant dialogue between viola and piano, is executed with both technical precision and emotive depth. The opening movement’s lyrical lines are imbued with a sense of yearning, while the scherzo’s vigorous rhythms are sharply delineated, showcasing Coletti’s dexterity and interpretive insight. The piano part, rendered by Leslie Howard, complements the viola with rich harmonic textures, creating a palpable sense of partnership. The post-impressionistic influences are palpable, as the two instruments weave a luminous sonic tapestry that evokes the essence of early 20th-century English music.
The recording quality deserves mention, as it captures the intimate nuances of each performance. While the solo pieces may feel slightly close-miked, this choice enhances the listener’s engagement with the rich sonorities of the viola. Coletti’s use of upward portamenti, though potentially overused at times, lends a stylistic flair that aligns with the gypsy-inspired idioms of the repertoire. In contrast, Britten’s early work, the “Elegy,” unfortunately lacks the depth found in Clarke’s compositions; it appears somewhat tentative and undeveloped, failing to resonate with the same emotional weight.
Vaughan Williams’ “Romance” is a quintessential example of his lyrical style, marked by expansive melodies that convey an impassioned overtone, despite its informal release. Howard and Coletti deftly navigate its sweeping phrases, infusing the performance with a profound sense of longing. Conversely, Bax’s “Legend,” while featuring compelling moments, seems to oscillate between inspiration and routine, lacking the cohesive drive one might expect from his more acclaimed symphonic works. Grainger’s arrangements, particularly “The Sussex Mummers’ Christmas Carol,” unveil the viola’s lower register with remarkable richness, although the “Arrival Platform Humlet” strikes a less satisfying note, veering towards a more abrasive interpretation that does not fully capture its intended whimsy.
The disc not only exemplifies the depth of the viola repertoire in England but also invites a broader exploration of overlooked composers. The comparisons to other notable recordings, such as Oystein Birkeland’s interpretation of Bridge’s Cello Sonata, highlight the potential of these lesser-known works to enrich the violist’s lexicon. The inclusion of pieces by Howell and Pitfield in future discussions may further illuminate the vibrant landscape of English viola music.
This recording serves as a compelling testament to the richness of the 20th-century English viola repertoire, deftly performed and thoughtfully curated. The interpretations of Coletti and Howard reveal not just the technical prowess required for these works, but also their emotional dimensions, making this disc a valuable addition to any violist’s collection.
