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Track(s) taken from CDA67587

Meditations on a Byzantine Hymn, Op 117

composer
1962; first performed on 20 December 1962 in a morning recital on the BBC Home Service by Maurice Loban

Lawrence Power (viola)
Recording details: September 2006
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: June 2007
Total duration: 11 minutes 15 seconds
 
1

Reviews

'This was in many ways the breakthrough work in Walton's early career … Lawrence Power serves the work superbly … a superb disc, much to be welcomed' (Gramophone)

'Power's playing is stunningly precise, crisply articulated and beautifully projected, with no hint of the little scrambles and occasionally pinched tone that beset even quite famous rival recordings … as a substantial bonus, there are two rarities by Walton's underrated contemporary Edmund Rubbra … here Power's rich and even sound, secure intonation and eloquent phrasing confirm his place as successor to Lionel Tertis, Primrose and Riddle in the royal line of British violists' (BBC Music Magazine)

'Sumptuous playing from Lawrence Power … an excellent opportunity to savour the depth and richness of this Cinderella instrument' (The Observer)

'If proof were still needed of Lawrence Power's pre-eminence among viola-players, then this magnificent disc is it … the advantage of a true violist, rather than a violinist who doubles on the viola, is apparent in the flexibility of Power's tonal colouring and the ease with which he slips between the questing melody of the opening, the bright sound of the scherzo and the resignation of the epilogue. He is matched in playing of real bite and textural interest from Ilan Volkov's BBC Scottish Symphony Orchestra … Power's identification with this music is complete, steering an expert course through the music's moods' (The Daily Telegraph)

'Lawrence Power's superb account of what is perhaps Walton's finest orchestral work … compels attention with its unfailing sense of line, rhythmic precision and varied range of colour. His choice of couplings is interesting too, for the 1952 Viola Concerto, by Walton's contemporary Edmund Rubbra, born a year earlier in 1901, is one of his most impressive works, with its long-limbed, introspective solo lines spun over restrained accompaniments. The solo-viola version of the Meditations on a Byzantine Hymn, a real tour de force from Power, appears on disc for the first time' (The Guardian)

'This is a greatly distinguished disc … these very different composers have each produced a masterly work, each of which receives here the finest performance I have heard of either score … [Walton] a new recording of the superior original orchestration is very welcome indeed. This new Hyperion disc is actually the first recording of it to have been made in stereo, and the richness of the original orchestration comes across in Andrew Keener's production with greater delicacy and impact than it has ever had before. The quality of the recording is one thing, but the engineers can capture only the performance taking place, and in this regard, and on this showing, Lawrence Power has to be counted as one of the finest masters of his instrument … he plays with a perfect sense of style and with a profound understanding of and insight into each score as well as a technical mastery and sure intonation which are wholly exceptional. In this, he is abetted by an orchestral contribution under the baton of a superbly gifted conductor. Ilan Volkov matches his soloist with a spontaneity and complete musical unity that … reveal this work to be a greater masterpiece than most of us have experienced until now … such richly poetic performances as these should be in everyone's record collection' (International Record Review)

'In the 21st century, one new name stands out, the British player Lawrence Power, and this disc swiftly tells us why. He's fleet-fingered. He's various: the changing hues never stop. He's effortlessly eloquent with a centred tone across his entire range … Ilan Volkov and the BBC Scottish Symphony Orchestra, incisive performers as usual, give us the 1929 sound: darker than we're now used to, sometimes acidic … the natural ease of Power's delivery makes for a commanding performance … Power's viola discourses with a warmth and fibre that makes Rubbra's musical argument seem always inevitable and always enjoyable. Above all, Power encourages Rubbra and the viola to sing. Their wallflower days are over' (The Times)

'Power's rich, elegiac tone is heard to wonderful advantage in the melancholic, slowish outer movements, but he has plenty of bite and dazzle in the central Vivo, con molto preciso, one of Walton's most brilliant 'malicious' scherzos … Meditations on a Byzantine Hymn for solo viola (1960), here getting its first recording, deserves to be in the repertoire of all viola players. Power's deeply expressive playing makes it the heart and soul of this remarkable programme' (The Sunday Times)

'Lawrence Power is just that extra bit special, investing the work's tantalising vein of underlying nostalgia with an eloquence that perhaps only a true viola player can bring … Power seems, if anything, even more attuned to Rubbra's espressivo cool, illuminating the Concerto's neo-Romantic gestures with finely judged and restrained intensity. Yet it is the hypnotic concentration of the solo Meditations on a Byzantine Hymn that lingers longest in the memory here, enhanced by luxurious, velvet-toned engineering' (The Strad)

'This is music that is somehow virtuosic but not showy, bold and exuberant in places yet profoundly intimate, tinged with a nostalgic reflectiveness yet never merely self-indulgent. Lawrence Power magically combines the soulful intensity of Lionel Tertis with the quicksilver agility of that other British viola genuis, William Primrose. In Power's skilled hands the viola is transformed from the lumbering second-class citizen of legend into a sleek, fine-tuned, noble instrument of infinite grace and expressive subtlety. Walton is one of the few composers to have really understood the viola's unique inner voice and Power traces the music's emotional contours with unerring accuracy … the BBC Scottish Symphony Orchestra under its gifted chief conductor, Ilan Volkov, also sounds utterly transported, illuminating Walton's and Rubbra's elusive musical idioms with playing of considerable accomplishment. The solo viola Meditations, here receiving their premiere recording, are no less captivating, and Power plays them like a lost masterwork. An outstanding release' (Classic FM Magazine)

'Power's radiant tone and electrifying power of projection make no apology for the robustness of both works. He captures the mercurial expression of the Walton brilliantly, its short scherzo bristling with nerve-tingling zest, its melancholic undertones tinged with an airiness that avoids sentimentality. Under Ilan Volkov, the SSO (in Walton's original, fuller version of the score) offers pungent support and nimble urgency in equal measure' (The Scotsman)

'Lawrence Power seems to be recording his entire repertoire, which is good news for viola lovers. William Walton's Viola Concerto was his best work, displaying all the features of his compositional skill, including a delightfully rhythmic central Scherzo' (Daily Mail)

'Both Power’s assured technique, and his tone – rich and grainy in its lower register, clear at the top – serves the character of all three works well, and Ilan Volkov and the BBC Scottish Symphony Orchestra give him sympathetic support in the two concertos' (ClassicalSource.com)

'Dans les trois oeuvres, Lawrence Power, ancien lauréat du Concours international William Primrose et membre du célèbre Nash Ensemble, se montre à la hauteur, Il est habilement secondé par le très jeune chef israelien Ilan Volkov' (Le Monde de la Musique, France)
For a decade and more Rubbra gave the title ‘Meditation’, with its religious connotations, to various works and passages within works, not all of them slow. The last, Meditations on a Byzantine Hymn, Op 117, was one of two pieces from the 1960s for solo stringed instruments, the other being a set of variations for violin ‘on a Phrygian theme’. The viola work bases itself on the opening of a melody quoted in a volume of the History of Music in Sound edited by Rubbra’s Oxford colleague Egon Wellesz, and was written for Maurice Loban, not the most prominent violist of the day but one warmly remembered by those who knew his playing well. The first performance was on 20 December 1962 in a morning recital on the BBC Home Service—scarcely a prestigious engagement. So obscure a setting for a new work by a major composer (an important contribution, indeed, to the less-than-copious modern repertoire for solo viola) epitomized the change coming over music in Britain—imagine a new piece by Birtwistle, Maxwell Davies or Goehr tucked away in a morning recital.

This is not quite a set of variations, as we soon hear in the opening seconds of what might otherwise be taken for the first variation, but here the meditations do have ‘a central theme’, referred to many times in the course of the piece, as are the ideas heard in that ‘Meditation I’. The music covers a well-contrasted range of moods including a medieval-sounding dance and, shortly before the end, an Elizabethan-sounding one, and closes with a quiet last look at the theme. Rubbra later recomposed Meditations for two violas, published as Op 117a, transforming it from a virtuoso piece to a substantial work of chamber music. This the first recording of the solo version of this work.

from notes by Leo Black © 2007

Pendant une bonne décennie, Rubbra intitula «Méditation» (avec toutes les connotations religieuses que cela implique) divers morceaux et passages d’œuvres pas toujours lents. La dernière de ces pièces, Meditations on a Byzantine Hymn, op. 117 fut l’une des deux compositions pour instruments à cordes solo écrites dans les années 1960, l’autre étant une série de variations pour violon «sur un thème phrygien». Les pages pour alto reposent sur l’ouverture d’une mélodie citée dans un volume de l’History of Music in Sound (éditée par Egon Wellesz, collègue de Rubbra à Oxford); elles furent composées pour Maurice Loban, altiste le plus en vue de l’époque, dont le jeu éveille, chez ceux qui le connurent, des souvenirs enthousiastes. L’œuvre fut créée le 20 décembre 1962 au matin, lors d’un récital donné dans le cadre du BBC Home Service—rien de vraiment prestigieux. Que l’œuvre d’un grand compositeur (contribuant de manière non négligeable au répertoire moderne pour alto solo, tout sauf fourni) ait connu des débuts aussi obscurs symbolise bien les changements qui affectaient alors la musique en Grande-Bretagne—imaginez une nouvelle pièce de Birtwistle, de Maxwell Davies ou de Goehr perdue dans un récital matinal.

Ce n’est pas tout à fait une série de variations, comme nous l’entendons assez vite dans les premières secondes de ce que l’on pourrait prendre, autrement, pour la première variation; mais ici, les méditations ont un vrai «thème central», auquel il est souvent fait référence au cours de la pièce—tout comme il est fait référence aux idées entendues dans cette «Méditation I». La musique couvre un éventail de climats ben contrastés, avec notamment deux danses: une aux accents médiévaux et, peu avant la fin, une autre aux accents élisabéthains; l’œuvre s’achève en posant un dernier regard paisible sur le thème. Par la suite, Rubbra recomposera ces méditations pour deux alots (117a), faisant d’une œuvre virtuose une substantielle page de musique de chambre. La version solo de cette pièce est enregistrée ici pour la première fois.

extrait des notes rédigées par Leo Black © 2007
Français: Hypérion

Etwas über ein Jahrzehnt lang in seiner Laufbahn gab Rubbra mehreren Werken und Passagen innerhalb seiner Werke den Titel „Meditation“ mit all seinen religiösen Assoziationen. Die letzte, Meditations on a Byzantine Hymn („Meditationen über eine byzantinische Hymne“), op. 117 4, war eines von zwei Stücken für Solostreichinstrumente aus den 1960er Jahren; das andere ist eine Folge von Variationen über „ein phrygisches Thema“. Das Bratschenstück basiert auf einer Melodie, die in einem Band der History of Music in Sound veröffentlicht wurde, die Egon Wellesz, Rubbras Kollege in Oxford, edierte. Es wurde für Maurice Loban geschrieben, der zwar nicht zu den berühmtesten Bratschern seiner Zeit zählte, an den sich jedoch viele, die mit seinem Spiel vertraut waren, mit Wärme erinnern. Die Uraufführung fand am 20. Dezember 1962 in einem Morgenkonzert des BBC Home Service statt—kaum ein renommiertes Engagement. Ein solch obskures Ambiente für ein neues Werk eines prominenten Komponisten (und einen bedeutenden Beitrag zum nicht gerade umfangreichen modernen Repertoire für Bratsche) versinnbildlicht den Umschwung, den Musik in Großbritannien erleben sollte—man stelle sich vor, dass ein neues Stück von Birtwistle, Maxwell Davies oder Goehr in einem Morgenkonzert vergraben würde!

Es ist nicht ganz eine Serie von Variationen, wie wir gleich in den ersten Sekunden der Passage hören, die sonst für die erste Variation gehalten werden könnte, aber die Meditationen hier besitzen „ein zentrales Thema“, auf das im Verlauf des Werkes häufig angespielt wird—wie auch auf die Ideen, die in dieser „Meditation I“ zu hören sind. Die Musik erfasst eine gut kontrastierte Stimmungsvielfalt einschließlich eines mittelalterlich klingenden und—kurz vor Ende—elisabethanisch angehauchten Tanzes, und das Werk schließt mit einer letzten, leisen Betrachtung des Themas. Rubbra schrieb die Meditationen später für zwei Bratschen um (als op. 117a veröffentlicht) und verwandelte ein virtuoses Stück in ein beachtliches Kammermusikwerk. Dies ist die erste Aufnahme der Solofassung dieses Werks.

aus dem Begleittext von Leo Black © 2007
Deutsch: Renate Wendel

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