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The single span of the Phantasie embraces sonata exposition and recapitulation, separated by andante and scherzo episodes which are linked by rudimentary transitions into an arch-shaped introduction: sonata exposition—andante—scherzo—extension of andante episode to effect a lyrical climax—sonata recapitulation—coda.
It was some months after the adjudication that performances of the prize-winning compositions were arranged. The London Piano Trio was engaged and the three premieres given over a six-month period. Bridge’s winning entry was given the distinction of publication through the Worshipful Company and a first performance at a Musicians’ Society banquet.
Cobbett, who had a number of reservations about the finale of Bridge’s first Phantasie, for string quartet (1905), was in no doubt of the quality of the new work. In a lecture given at the Royal Academy of Music in 1911 he said: ‘Mr Bridge’s Trio is of a remarkable beauty and brilliance and stamps him as one of our foremost composers for the chamber. With a lavishness to which I can recall few precedents, he has provided thematic material more than sufficient for a lengthy work in sonata form.’
from notes by Paul Hindmarsh © 1988
|Bridge: Piano Trios & Phantasy Quartet|
‘These mellifluous and enjoyable works reveal [Bridge] as, of all British composers of his time, the nearest to Fauré in his aesthetic. Hyperion's re ...
‘The performances catch the subtly shifting moods … and the recordings sound as atmospheric and sensitively balanced as when they first appeared, ...» More