YORK BOWEN (1881.1961) Sonata No.2 in E minor fortwo pianos, Op107 (194) efile Vt qual resto co sont Two Pieces for two panos, Op.106 18) 0 Walz in C fortwo planos, Op. ete (9 First Rhapsody fr solo plan, Op.) gee 40) ‘Theme and Variations for two planos, Op. (151 Eby Sept DU Theme Annet BEA rane cote AL eration 2 Ab on BL erator Aegon aco Ei. Watton cr netomat Bi eration Satna eno i. Vrten Agate pacer Bie eration Asani Be tla Le BS. ration Aloo ote cn ion Matto iimente MICHAEL DUSSEK pine JORN RED pane fis ate teens and early twenties York Bowen was the leading Brith pianist nd composer of his generation. An exact student contemporary of Arnold Bax at London's Royal Academy of Musi. he wrote an enormous amount of music fr the Plano, He also became celebrated in his lat teens asa brant youn composer who ‘wrote in an approachable idiom, which the existing mene embrace, Blessed with welloff and sympathetic parents, Edwin York Bowen was born on 22 February 184. An inate abit and a supportive home allowed him Wo develop his ‘musical abilities when he was very young. Music was al he rage anther were many suburban musical colleges e attended the Holloway College of Muse and later the blackheath Conservatoire. Bowen was only fourteen when he was awarded the Ear Scholarship, which took him tothe Royal Academy of Musi (RAM). When Bowen had ‘completed is studies atthe RAM, his lather along with other westhy parent) gave 12010 the Academy vo fund a les welof student _Atera prizewinning student caoer, he quickly began to appear on London concert, platform; while Bowen was still in his tens, Henry Wood preseated histone poem The Lament of Taso ata Queen's Hall Promenade Concert in 195. Bowen's cary Concert Ouerure was programmed by Dan Godey at Bournemouth, nd his Fist Plano {Concerto and Fist Symphony in G major were also heard at Queen's Mall His name was made when he appeared as soloist in his Fist Piano Concerto, Wate when he was neteen, he fist played it ata Royal Academy concert and ater at a Queen's Hall Promenade Concert of 17 September 190: then took Bowen (who ako played the Tehaikowsky in B flat minor) round the country. incuding Bournemouth and the Hale In Manchester ‘Commissions owed in and he appeared withthe leading musicians of the day. Bosten’s instrumental music was extensive al notably wae wien for the compose’ ‘own instrument the piano (lor which he wrote six sonatas between 1000 and 1961), ‘Mer the ist World War eame a host o piano pieces including Bowen's et of twenty four preluds in all major and minor key. Hispano music inclides many sites and‘miscellaneous tes, and whe some are teaching pleces aimed at amateurs and even huldren, others are remarkably demanding. Bowens instrumental music fs notable for many sonatas, not only forall the strings ut als ite, oboe. carne, horn and recorder. There was ako 8 variety of chamber music, inching plano tos, string ‘quartets and quintets for born and bass clarinet, though strangely for a plant: ‘Composer We appears never have considered a piano quintet For owen’ generation the medium of four hands atone plano or two panos was ‘convenient substitute forthe orchestra, and while Bowen was a stent he and Arnold 'Bax would accompany the RAM opera class a two pianos in this way in 1908 ving evtrmances of Gick’s Oreo Aet I, and Act and 2 of Der Frese ‘The earliest music on this CD is apiece for solo plano, Bowen's barnstorming large-scale romantic Rhapsody in B minor, Op8 (tere Is confusion over some of ovens early opus numbers | have followed those given on his manuscript, others designate the Rspioy as Op.10), was walten while he was a student, and dates, ‘nom November I, It has never been published, which is remarkable for such & potentially popular pce. Composed two-ndarhalf years before he et the Academy, ‘we may use a a guide to Bowen's command of the keyboard atthe age of eighteen, ‘wen he wanted to show ft I interesting, to, because of Bowen's writing for the Tet hand with eects ~ chromatialy rising seals and low octaves ~ that were not ‘developed by hi in is later musi but are characteristic of the later music of his frend Arad Bax Both composers possibly took thelr model rom the new Ruslan music atthe tam of the century by Rachimaninow, Glazounoy, Serabin and Liapounow {amuse tat wa key to be picked up from the publishers London agents by wealthy ‘Yung pianists as soon a6 i was published) Its aso intresting to compare some Paste inthe eay Pano Soata(l N34) by Stravinsky wth this aly piano music by Bowen, to see them both af students occupying sinilarsound-world. But rom ‘here Bowen alld tose the coming modernism that made Stravinsky a leading ame, ‘nd rom which Bowen ecold Bowen's mute forfour hands started with two sites fr piano det Jour hands ‘one piano) ~ works that achieved some popularity inthe 12s. Most ofthe subsequent musi fortwo pianos came from the early years ofthe Second World War and was Probably stimulated by Bowens frenship with Academy pianist Harry Isaacs, with Sonatas and concert pieces folowing one another rom Bowen's pn. “The first of thee later works fortwo pianos are the Two Pieces, Op 106, Nocturne and “Taceata, which date from August 1880 the “Toccata! came fist onthe Ath, the ‘Nocturne following onthe 15h Rowen was then ving at GoringbySea, West ‘The headlong semiquavers ofthe “Toccata! ate given Impetus and lightness by the separated staccato marching chords of the second pian. The ‘Nocturne’ i a surprisingly exotic nightsime vison, the chromatic writing suggesting the languors of suey semi topical elimate.Ineitably. brings to mind Aro Baws piano Nocturne May Nigh nthe Ura, written Delo the Fst Wold Wa "The flamboyant Concer Wale in, Op.108 was completed at GoringbySea on 8 February 1941. Quite what stimulated Bowen into composing so outgoing and high sprite confection inthe darkest days ofthe war Is dificult to comprehend Nevertheless, he produced the perlct curtain eager for any twoplano rectal, but ‘unsurprisingly wns not akon up daring the war and was ater frit, Bowen's Sonata fr Two Panos is actaly his second. The fist, which he once played with another Academy friend, Claude Gascolgne, dates from just after his Student years, ans algo unpublished. The Second Sonata was completed at Worthing West Sussex on 21 May 194; wa astocated with the wartime National Gallery concerts where It was played by Bowen and his triend Harry sacs “The Sonata is in four movernents and is characterised by Bowen's typically demanding planisn. The first movement is prelaced by a portentous and dramatle prologue, Poco leno, senso, which ries oa dame clay before the eunning seme ‘auavers of the Alero dees. Sood the music gives way to a yricl second subject,Which with is thrice repeated note sme might ear having a es fll muse Sensibility. The materia sven the most romantic treatment before the fast muse ‘etums and the movement develops through a succession o dramatic episode, deve basing moti derived rom the opening musi. The second subjet return a quiet Interie, which then builds to the dramatic closing bars ‘The slow movement follows, an Andane sostenuto of Ircal tenderness, which unfolds in a continuous span of over seven minutes. pivots around a central climax ts semiquaver figurations drive the frst pano's romantic outpouring ‘The bre scherzando Allegretto gusios third movement abandons the emotional world of the fist two movements and presents payulinteride n 2/4, almost a Drude tothe whirwind headlong 63% quavers ofthe fst dea ofthe Fae Volante, ‘qui presto' Bowen instructs atthe beginning ofthe fourth movement, but soon breaks ff or the Poco pi soxteruo ofthe contrasted, refletive second Wea. The fast muse returns ands heard counterpolating elements ofthe slow ection. Eventually the Poco ia soxtenato returs for a few moments of stiles Deloe the headong 6/8 dives the Sonata to an exiting close: This is music that makes its impact from sheer. relentless ger work each plans largely nwo parts ~ and the breathless euphoria generated by easeades of notes Thowen's tt work or wo panos was the Theme and Variations, Op.19, completed Intondon on 10 February 1851. Here the compose clearly identied each variation. of which there are actualy ten, the ninth being labeled “ntrlue’ nthe score, but the ‘Compote regarding the Finale es Variation No, These have been tracked separately ‘on this CD forthe convenience of stener, ‘Thetwent:bar theme, a solemn tune marked Andante ranqul, sated by the second piano and taken ove by the est piano atthe sith Dar the secon piano then ching the harmony and msintaining the chordal movement when the frst piano breaks into quavers. The musi continues with a succession of contrasted variations, {he tne clearly delineated in the st but increasingly varled as we travel through the variations. Mer the vitwosle fourth vaiton, Alero com fue, the fit, Poco ‘entorangui,sves ian expand romantic treatment that could wel be played as ‘threnandarquarter minute minature in sown right Having extablsed the mood, the sith variation provides a profound meditation at the heart ofthe piece. Two Scherzando variations flow - the scampering 68 gruzioso writing of No“. leading to the ary semtuavers of No.8 Bowen then provides what he calls an Interlude a qulet nd eflective procession ol chords over inexorably repeated crochet, which crete an Impression of marching ime. The extended Finale nance with an extended Allegro ‘mato con foco typical headlong torrent of sem-quaver figuration punctuated by the opening four notes ofthe theme. Eventually on a clinax the musi slows, and oben followed by a throwaway return of the runing quavers athe dsmissl ‘The ends deihusly corny, bt highly enjoyable ~one can imagine the right audlence cheering atthe end. However, oe hus to remember lt ppeared in 1951, and then this heart osleeve vrting would have been seen ae reactionary and overblown, Perhaps ‘now its time has come. © Lewis Foreman, 2008 ‘OK HOW alban Dun Eph = {SOUK7I15- ine Hem 8 Sere Gur Rad Ts (Eton Eve) {€OUX7120 Hane rn 8 Pra Clo A Pane (non Ele) {COLL 7126 iS Pay os 8 Paro Yes Boy an ag orb) {COLK7129 Soma fe Fe & Pn Or 8 Pan, Carnes BP Horn Pa yin) {COLX7168 Pano Cons Na an Cane el Daa Lara Meda ron Hey (COLX7I67 Fane Conan Non. 2&3 (de ron Hay[MICHAEL DUSSEK has tan exceptionally varled and successful career, performing throughout the works Soloist chamber musician and singer's accompanist. He ‘nas partnered any’ of today’s leading instrumental and vocal soloists inching oliits Ryu Goto, ChoLiang Un, Ane Akiko Meyers, Gi Sham, Anje Weta and ‘ue Wel celist Oa Hanoy, autist James Galway. bist Doni Boye and singers Susan Bloc, Bemaréa Fink, Christopher Mattman. an Partedige and Jean Rigby Michael has played in many’ of the worl’ major concert als, including London's Royal Festival all Royal Albert Hal, Wigmore Hall and Royal Opera House: Amsterdam's Concertgebouw, Madeid’sAuditorio Nacional. Tokyo's Suntory Hal, Osaka's Symphony Hal, Seoul Arts Centre and major concert venues In Bejing, Bonn, Brussels, Heli, Hong, Kong Paris, Prague, Toronto and Tape, n2hiGhe complctedathirteenectltourol Japan with voknist Ryu Got, ncluding ‘Suntory Hal rectal recorded ve for CD and DVD by Deutsche Grammophon, He is @ member of three London-based chamber groups: the Dussek Plano Trio. Endymion and Primavera. He has also performed with the soloists of The Chamber Orchestra of Europe, The Cy of London Sialonia and The Orchestra ofthe Age of Enlightenment. ‘Michael Dussel's versity is refeted in his extensive discography, which he has recorded or labels sucha ASV, Chandos, Deutsche Grammophon, Ditton Epoch, EML Hyperion and Meridian. Among his many releases onthe Dutton Epoch label are Ns critically aclaimed recordings of York Bowens first three Pino Concertos, withthe [BBC Concert Orehestra conducted by Verpon Handley CBE (avalble on CDLX 7169, and CDLXTIS7). Michae's recording of Bowen's ist Piano Concerto (CDLX 7165) was selected for incusion in Fanfare Magazine’ Hal of Fame. His recording of Bites soo plano misc was described by Fanfare Magarne as one of the most magical dacs ofBiten yet made” With clist Oa Harnoy be has recorded works by Beethoven and Dvorak, and a dae of sonatas by Proketey and Schubert that won a Canadian Juno Award ’As a member of the Dussek Plano Tro, with his wie celst Margaret Powell and iolnst Gonzalo Acots, Michel has reconded trios by Arensy, Brahms, Bldgs; Haydn and Mrstone, and with Endymion, chamber works by Berkeley, Bowen, Dohnans, Dunhill bie an Rubra “Two of his recordings of Edmund Rubor's chamber music were nominated for Gromoptone Avaris, and his dise of songs by Amol Bax. wth singers lan Partridge and Jean Rigby (aiiable on Dutton Epoch CDLX 7136), reelved outstanding Mice! Dusseks EMI recoding with wont Xue Wel was a Destselingeasica recording in mainland China and Hong Kong. In addition to his extensive performing Career, Michaelis a Professor and Fellow ofthe Royal Academy of Musi in London, \rowmichaeldusse cok JOHN REID read muse at Care College, Cambridge, before taking p a scholarship to ‘uc a he Royal Academy of Music wih Michael Dussek He has also taken lessons In song Interpretation with Malcolm Martineas and. peivaely in Amsterdam. with Rud Jansen. His many awards Incude the 2003 Kathleen Ferrer and Mage Teyte seeompaniment prizes, the 2008 Bimingham Accompanist ofthe Year Goin fs prize), the 2004 Gerald Moore Award andthe Queen's Commendation for excellence, presented bythe Academy. “olin has made a numberof sgiiont rectal debuts during the course of recent seasons at Wigmore Halla May 2004 («ith soprano Licy Crowe); atthe Purcell Room (as a 200 Park Lane Group Young Artist: a Berlin and atthe Mecklenburg Festival(with faust Adam Walker) and in Switzeriand, aly and the Concengebou, Amsterdam wth trumpeter Bennet, calat Alexander Balle and lint nate Thomas Gould, he has perormed atthe Queen Elizabeth va Pe | or neber ofthe Aurora Orchestra, with whom he | the contemporary most ensemble Rau for debit (Songs of Spring) was eeased occal acim. Other projects rings of ns by Cares amie on Divine Art), Rhian Sail ‘ecohnred oom and in festivals across the UK. He isa ICHAEL} DUTTON tars onan eo arbre Lid 19 Tr nd edge Det ch,