Samuel Coleridge-Taylor; Arthur Somervell - Violin Concertos (Anthony Marwood)

Information

Composer: Samuel Coleridge-Taylor; Arthur Somervell

1. Coleridge-Taylor - Violin Concerto in G minor, Op. 80: I. Allegro maestoso - Vivace - Allegro molto
2. Coleridge-Taylor - Violin Concerto in G minor, Op. 80: II. Andante semplice - Andantino
3. Coleridge-Taylor - Violin Concerto in G minor, Op. 80: III. Allegro molto - Moderato
4. Somervell - Violin Concerto in G minor: I. Allegro moderato e con grazia
5. Somervell - Violin Concerto in G minor: II. Adagio
6. Somervell - Violin Concerto in G minor: III. Allegro giocoso

Anthony Marwood, violin
BBC Scottish Symphony Orchestra
Martyn Brabbins, conductor

Date: 2005
Label: Hyperion
http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67420

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Review

Evidence of highly intelligent life beyond the standard repertoire

Hyperion’s series of Romantic violin concertos continues its exploration of the byways with two almost completely unknown English works from the first three decades of the 20th century. One of them, Samuel Coleridge-Taylor’s Violin Concerto, received its first recording only recently (with Philippe Graffin, Michael Hankinson, and the Johannesburg Philharmonic Orchestra, on Avie AV0044), while of the other, Sir Arthur Somervell’s, Anthony Marwood’s serves as the recording premiere. Both works, large-scale and theatrical, open with bold thematic statements that soon deliquesce into what now seem almost quaintly nostalgic sensibilities. And both, with their accessible melodic and harmonic designs, rich symphonic orchestrations, and expansive dramatic sweeps, might be taken by those unfamiliar with them to have originated, like Korngold’s, in movie scores. Lewis Forman’s notes reveal that both had been written for female violinists prominent at the time of their composition: Coleridge-Taylor’s (his last work) for Maude Powell in 1912, and Somervell’s (his last “extended” work) for Adila Fachiri—Jelly d’Aranyi’s sister—in 1930. While Coleridge-Taylor (like Sibelius, Elgar, and Goldmark) played the violin in his early years and therefore might have been tempted to re-experience earlier aspirations, Somervell had no such direct connection with the instrument. Perhaps that’s why his concerto lacks the vigorous virtuoso passagework that place Coleridge-Taylor’s well within the grand tradition. Anthony Marwood plays these works with patent sympathy for their poignant harmonic milieux. The engineers haven’t placed him far enough forward to jeopardize the more reticent relationship with orchestra in which Somervell placed his soloist nor far enough in the background to obscure the brilliance of Coleridge-Taylor’s solo. Martyn Brabbins and the BBC Scottish Symphony Orchestra play with the required warmth and loamy symphonic richness. Graffin, Hankinson, and the Johannesburg Philharmonic Orchestra champion a somewhat different set of virtues. Hankinson and his Orchestra make, perhaps, grander although leaner symphonic statements, but they breathe less of the work’s moist period sensibilities. As soloist, Graffin, on the other hand, gives the impression of greater rhythmic elasticity; yet Marwood, in collaboration with the Brabbins and assisted by engineers who’ve placed him in a more commanding position, probes the Concerto’s alternating diamond and talc with greater sensitivity to its idiom.

Frederick B. Emery’s book on the violin concerto runs to some 615 pages, including hundreds of works in the genre. At one time, listeners, at least in musical centers where such works could get a hearing, must have enjoyed a variety that collectors have only in recent years begun to experience. Such concertos as Coleridge-Taylor’s and Somervell’s suggest that there lies behind the handful of pieces most frequently (and sometimes almost exclusively) played a massive backlog of works almost equally well made and grateful for the soloist. For those who might prefer to hear reflections on the violin by a less frequently heard composer to discovering yet another violinist’s attempt to comb out detail to personalize a war-horse recorded a hundred times over, Hyperion’s series, and this installment in particular, should be especially welcome; for others, it could serve as evidence of highly intelligent life beyond the standard repertoire. Warmly recommended to listeners of all types.

-- Robert Maxham, FANFARE

More reviews:

ClassicsToday  ARTISTIC QUALITY: 9 / SOUND QUALITY: 9
MusicWeb International  RECORDING OF THE MONTH

http://www.musicweb-international.com/classrev/2005/Mar05/Coleridge-Taylor_Somervell.htm
http://www.gramophone.co.uk/review/coleridge-taylor-somervell-violin-concertos

http://www.classical.net/music/recs/reviews/h/hyp67420a.php

http://www.classicalsource.com/db_control/db_cd_review.php?id=2513

http://www.theguardian.com/music/2005/mar/04/classicalmusicandopera.shopping4

http://www.allmusic.com/album/samuel-coleridge-taylor-sir-arthur-somervell-violin-concertos-mw0001557826

http://www.amazon.com/The-Romantic-Violin-Concerto-Vol/dp/B00076AE3K

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Samuel Coleridge-Taylor (15 August 1875 – 1 September 1912) was an English composer of Sierra Leone Creole descent who achieved such success that he was once called the "African Mahler" by New York musicians. He was particularly known for his three cantatas based on the epic poem, Song of Hiawatha. Coleridge-Taylor also composed chamber music, anthems, and the African Dances for violin, among other works. The Petite Suite de Concert is still regularly played. Coleridge-Taylor was greatly admired by African Americans, with public schools were named after him in Louisville and Baltimore.

https://en.wikipedia.org/wiki/Samuel_Coleridge-Taylor

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Arthur Somervell (5 June 1863 – 2 May 1937) was an English composer, and after Hubert Parry one of the most successful and influential writers of  English art song. Born in Windermere, Westmorland, Somervell studied with Charles Villiers Stanford, Hubert Parry and Friedrich Kiel. He achieved success in his own day as a composer of choral works, but is now chiefly remembered for his song cycles. His style was conservative, and shows the influence of Mendelssohn and Brahms. He was also active in music education, became a professor at the Royal College of Music in 1894.

https://en.wikipedia.org/wiki/Arthur_Somervell

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Anthony Marwood (born 1979 in London) is a British classical violinist. He was educated at King Edward VI Grammar School in Chelmsford, at the Royal Academy of Music and the Guildhall School of Music and Drama, and studied with Emanuel Hurwitz and David Takeno.  From 1995-2012 he was a member of the Florestan Trio with Susan Tomes and Richard Lester. He was also active as a conductor. Marwood has made more than 30 CDs for the Hyperion label, both as soloist and as a former member of the Florestan Trio; he has also recorded for EMI, BIS and Wigmore Live.
http://www.anthonymarwood.com/

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