Bowen Viola Sonatas nos. 1 and 2. Phantasy
The Bridge Duo
Naxos 8572580

Every time I listen to this disc, I feel that I have been on a satisfying journey – to where, I can’t quite say, but I am definitely the better for it! York Bowen’s viola sonatas are seriously good pieces. Bowen was encouraged by Lionel Tertis to write virtuoso music for the viola with the double-stopping, rapid scales and high passage-work one would expect in violin works - a novel idea at that time. The resulting sonatas, written in 1905 and premiered by Tertis with Bowen at the piano, are generous, lyrical and powerful in a style reminiscent of Brahms and Elgar. The music often goes through an extraordinary variety of keys in a short space of time, but never loses its melodic thread in the process - Chopin and Rachmaninov surely influeced Bowen’s writing. The later Phantasy (1918) is remarkable for its variety of tempi, texture, tonality and moods. Matthew Jones, one of today’s leading viola players, plays with the required degree of panache, emotion and technical excellence, matched by Michael Hampton’s virtuosity at the piano. Reviewed by Anne McAlister

Roussel The Spider’s Banquet. Padmâvatî
Royal Scottish National Orchestra / Denéve
Naxos 8572243
The fifth and final volume in Stephane Denéve and the RSNO’s acclaimed survey of Roussel’s orchestral works features The Spider’s Banquet written in 1912. Roussel had been influenced by the impressionism of Ravel and Debussy from the beginning of the century, and this work sees a definition in his style. The work falls into the genre of ballet-pantomine and follows a two-part scenario by Gilbert de Voisins depicting insect life in a garden. Part one introduces the various creatures such as the Entrance of the Dung-Beetles (sounding much more delicate than the title suggests!) and the delightfully nimble Round-dance of the Ants. Part two centres on the life-cycle of the Mayfly, with Roussel’s imaginative score conjuring images of the hatching, dance, death and funeral of the insect. Denéve and the RSNO clearly revel in the lush writing and bring it boldly to life. The opera-ballet Padmâvatî follows and is based on a poem written by Malik Muhammad Jayasi, a 16th-century Indian Sufi poet. Roussel gained inspiration for the piece from a visit to the ruined city of Chittor in Rajastan and incorporated aspects of Indian music into the score. It provides a fitting finale to this fine series. The recording was made at the Henry Wood Hall in Glasgow in October 2010.

Reviewed by Dawn Gibson