Composer: Alan Rawsthorne, John McCabe
Works: Sonata for violin and piano (1959), Theme and Variations for two violins (1938), Maze Dances for violin (1973), Star Preludes for violin and piano (1978)
Performers: Peter Sheppard Skærved (violin), Christine Sohn (violin), Tamami Honma (piano)
Recording: Recorded in the church of St. Mary’s, Dinton, Wiltshire, 2nd June 1999 (tracks 6-15) and 28th June 1999 (track I); in Challow Park, Wantage, Oxon, on 12th September 1999 (tracks 2-5 and 16)
Label: Metier MSV CD92029
Alan Rawsthorne and John McCabe occupy distinct but complementary positions within the British classical music landscape, each characterized by a unique compositional voice yet sharing an unyielding commitment to clarity and formal integrity. Rawsthorne, whose career blossomed in the mid-20th century, often evokes a bittersweet emotional palette, while McCabe, a stalwart advocate for Rawsthorne’s music, reflects a more contemporary sensibility infused with playful abstraction. This recording, featuring works from both composers, presents an intriguing juxtaposition of their artistic trajectories.
The performance of Rawsthorne’s works begins with the Theme and Variations for two violins, an early work that highlights the composer’s melodic fluency and formal rigor. Skærved and Sohn deliver an interpretation that captures the work’s structural clarity and harmonic richness. The variations unfold with a transparency that allows the listener to appreciate the intricate dialogue between the violins, making each variation distinct while maintaining an overarching cohesiveness. The subtle interplay of timbres showcases Rawsthorne’s deftness in crafting musical conversations, resulting in an engaging listening experience that stands as one of the disc’s highlights.
In contrast, the Sonata for violin and piano, composed more than two decades later, presents a more complex emotional landscape. While the performance is technically sound, it lacks the warmth and depth that Rawsthorne’s evocative writing demands. Particularly in the final movement, where the music takes on a questioning, almost elusive quality, the interpretation feels somewhat flat, failing to fully convey the nuanced melancholy that defines much of Rawsthorne’s oeuvre. The recording quality does not assist this endeavor; the piano’s sound is particularly dull, at times creating a disconnect between the instruments. Such imbalance can detract from the overall cohesiveness of the performance, causing the listener to question whether the musicians were truly synergizing in this intimate setting.
Turning to McCabe’s contributions, Maze Dances provides a stark contrast in its execution and engagement. This work is a testament to McCabe’s ability to weave intricate textures and motifs into a compelling narrative for solo violin. Skærved’s performance is both assertive and lyrical, capturing the piece’s kaleidoscopic nature while maintaining a strong sense of direction. The energy and momentum he brings to the work are palpable, allowing the listener to traverse its shifting landscapes with ease. Similarly, Star Preludes, while a more collaborative endeavor with piano, also benefits from Skærved’s interpretative insight. The work’s opening and closing sections, described by the violinist as a “space-scape,” require a keen sense of pacing and atmosphere, both of which are effectively realized, although the piano’s muffled sound during some passages does hinder its potential impact.
The recording itself, while sufficiently clear, suffers at times from a lack of dynamic range, particularly evident in the piano’s lower register. This issue diminishes the overall sonic richness of the performances, especially in the more delicate passages where the interplay of violin and piano should create a shimmering interplay of timbres. Comparatively, other recordings of these works, particularly those featuring more adept engineering, illuminate the potential depth and nuance lost in this instance.
This collection, while presenting noteworthy performances of Rawsthorne’s Theme and Variations and McCabe’s Maze Dances, ultimately exposes the limitations of the Violin Sonata and the engineering choices made during the recording sessions. The artistic merits of both composers are evident, yet the recording does not fully realize their potential, particularly in the more complex works. An advocacy for McCabe’s output, as evidenced by this release, is certainly warranted, continuing the important work of bringing both composers into the light of contemporary recognition.
