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Hyperion Records

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Hush! (also known as The Concert) by James Tissot (1836-1902)
Reproduced by courtesy of Manchester City Art Gallery
Track(s) taken from CDH55266
Recording details: November 1984
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Produced by Martin Compton
Engineered by Antony Howell
Release date: March 1991
Total duration: 17 minutes 28 seconds

'In the front rank of late 19th- and early 20th-century chamber music and richly deserving of recognition' (The Daily Telegraph)

'This disc will be welcomed by anyone with a taste for the unfamiliar, and will certainly reward the curiosity of the adventurous collector. Warmly recommended' (The Good CD Guide)

'Very highly recommended' (Classic CD)

'Parry has his own distinction; witness the winsome and ardent D major Sonata―lovely in its melodies and heartfelt in emotions―and the Fantasie Sonata traces a rich vein of lyricism. The Pieces are each engaging and pleasing. The splendid performances are naturally recorded' (ClassicalSource.com)

Violin Sonata in D major
composer
started December 1888; first performed 14 February 1889

Allegro  [6'16]

Introduction  EnglishFrançaisDeutsch
The Sonata in D major was begun in December 1888 and first peformed at Orme Square on 14 February 1889 (both this Sonata and the later Piano Trio in G of 1890 were specially composed for Dannreuther’s concerts). At this time Parry’s national reputation had only just become firmly established through the success of Blest Pair of Sirens in 1887. Indeed, during the Sonata’s rather frenetic composition he was also preoccupied with sketches for the Ode to St Cecilia and the Third Symphony, both commissioned for performance in the summer of 1889. In layout it is far more conventional than the Fantasie Sonata, conforming to the traditional three-movement scheme. But in terms of structural balance, harmonic and thematic consistency, and instrumental interplay, it is considerably more assured. At once we are aware of the striking rhythmical flexibility of the first movement’s opening theme on the violin, particularly the falling seventh at the end of its first phrase. Also conspicuous is Parry’s mature diatonic style, evident in the closing material of the exposition. The slow movement, in B flat major, is almost entirely lyrical in content. Its long opening theme recalls earlier impressive slow movements in the Cello Sonata (1880) and Second Symphony (1883), while the beautifully constructed second-group melody is one of Parry’s most inspired thematic inventions. The brilliant finale, revealing Parry in a delicate mood, appears from Parry’s diaries to have been written first. In February 1894, when the Sonata was subject to revision, this movement remained virtually untouched. However, the first movement, which contains perhaps the most interesting and thoroughly integrated material, was obviously the cause of some uneasiness since he devoted nearly all his revision time to its perfection.

from notes by Jeremy Dibble © 1991

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