JAVS Summer 2018

exploration throughout the sprawling melodies that wind through this twenty-minute piece, and is able to carry the listener on a riveting journey. e way she handles both dolce, emotion-laden themes and the virtuosic gymnastics of rapid double-stops and octaves enables the listener to hear the spirit of the music and of the violist for whom it was written. e next work, the well-known concerto by William Walton, does not bear so rosy a connection to Tertis. Upon completing the concerto in 1929, Walton delivered it to Tertis, who promptly returned it. At the time, he apparently considered the musical language to be to problematic and disjunct, writing “I had not learnt to appreciate Walton’s style”—an opinion he later renounced. In 1962, in an e ort to improve the balance between soloist and orchestra, Walton revised the work by reducing some of the forces. is recording features the world premiere of the 1929 orchestration in the new edition by violist Christopher Wellington, edited in 2002 for Oxford University Press. Xiao’s playing throughout exhibits a commitment to smoothness of phrasing and beauty of tone, perhaps at times at the expense of articulation and capturing the aggressive, abrupt nature of some passages. Nonetheless, her straightforward manner and steady phrasing (very little rubato within phrases) in the outer movements helps bring out this work’s melancholic character. In the second movement, she fearlessly traverses the virtuosic heights, never shying away from the high registers and daring shifts. On the whole, we hear in this recording the precision of Walton’s notations and the beauty of the long line. e album closes with the delightful eight-movement Suite for Viola by Ralph Vaughan Williams, also dedicated to Tertis, who premiered the work. e amount of variety between movements—including a prelude, a jovial Christmas dance, a slow ballad, a feisty perpetual motion, and others—provides an enjoyable listening experience to anyone who ventures to sit down and take it in. In some ways, this piece is not as virtuosic or demanding on the listener as the earlier pieces on the album, but to those who know this piece, capturing its simplistic beauty requires great skill and poise, both of which we hear from Xiao’s performance. is nal work on the album provides a much-needed charming conclusion to the grandiosity of the preceding works.

In the early decades of the twentieth century, English violist Lionel Tertis worked tirelessly to engage composers to write solo repertoire for the viola. His labors yielded a rich harvest of new works for the instrument after centuries of small returns. e three works on this album by Bax, Walton, and Vaughan Williams all enjoy some connection to this rst great English viola protagonist. Phantasy for Viola and Orchestra , by Arnold Bax, bears a dedication to Tertis. Bax‘s relationship with Tertis began in his early years as a student in piano and composition at the Royal Academy of Music where Tertis served professor of viola. In addition to this concert piece, Bax also composed a sonata for viola and piano that he and Tertis recorded. e three movements of the Phantasy are played attacca, beginning with a cadenza and followed more or less by a traditional fast-slow-fast scheme. As characteristic of English music from this period, Bax‘s melodies roll ever onward, perhaps like the endless waters surrounding the island country. At other times, the rustic roots of folk music, rife with pentatonic melodies and jaunty rhythms, break forth with nostalgia and playfulness. Hong-Mei Xiao engages both ends of this spectrum with great energy and ease. She has the astounding ability to maintain a sense of newness and EnglishWorks for Viola and Orchestra Arnold Bax – Phantasy; WilliamWalton – Viola Concerto; Ralph Vaughan Williams – Suite for Viola. Hong-Mei Xiao, viola; Budapest Symphony Orchestra. Delos DE3486.

Reviewed by Alexander Trygstad

Journal of the American Viola Society / Vol. 34, 2018 Online Issue

44