CD — Timothy Ridout Playing Works for Viola and Orchestra
Works by Vaughan Williams, Martinů, Hindemith, and Britten
Media Review
2026-02-04 — Original posting
Timothy Ridout mit Werken für Viola und Orchester — Zusammenfassung
Repertoire
Empfehlung
Diese Aufnahme ist eine ausgezeichnete Ergänzung für jede Diskografie der Musik des 20. Jahrhunderts und sehr empfehlenswert. Die vier Werke auf dieser CD werden selten auf Konzertpodien gespielt. Sie sind leicht verständlich, beinahe durchgehend kurz und eingängig und zeigen eine große Vielfalt an Ausdruck und Emotionen. Die Aufnahmequalität ist ausgezeichnet, die Aufführung hervorragend—insbesondere das Spiel des Solisten Timothy Ridout. Er ist ein junger Musiker, der es verdient, entdeckt zu werden! Ich kann diese Aufnahme nur wärmstens empfehlen!
Contents
- Introduction
- The Artists
- CD Track Listing
- Works and Interpretation
- Ralph Vaughan Williams (1872 – 1958): Suite for Viola and Orchestra
- Bohuslav Martinů (1890 – 1959): Rhapsody-Concerto for Viola and Orchestra, H.337
- Paul Hindemith (1895 – 1959): Trauermusik für Streichorchester mit Solobratsche
- Benjamin Britten (1913 – 1976): Lachrymae for Viola and String Orchestra, op.48a
- Conclusions
- Media Information
- Acknowledgements
Introduction
For this review, I selected a recent release from Claves Records featuring 20th-century music for viola and orchestra, performed by violist Timothy Ridout, accompanied by the Orchestre de Chambre de Lausanne under the direction of Jamie Phillips. This CD is the result of Timothy Ridout winning the Thierry Scherz Prize in the context of the Sommets Musicaux de Gstaad 2019, which sponsored the CD, together with the Pro Scientia et Arte Foundation, Bern.
The Artists
Timothy Ridout, Viola
A concert in Zurich on 2019-05-24 marked my first encounter with the British violist Timothy Ridout (*1995). To keep things simple, I am adopting the biographical notes from my concert review from that event:
Timothy Ridout grew up in London, in a musical family (his mother is cellist, his father Jazz pianist). He received his viola education from the Royal Academy of Music in London, graduating with the Queen’s Commendation for Excellence. Timothy Ridout continued his studies with Nobuko Imai (*1943) at the Kronberg Academy in Germany.
In 2014 (aged 19), Timothy Ridout won the inaugural Cecil Aronowitz International Viola Competition. The following year, he received second prize at the Windsor Festival International String Competition. Finally, in 2016, he won the First Prize at the British Viola Society‘s 12th triennial Lionel Tertis International Viola Competition. This last competition win opened the doors to concert halls for the young artist. He has made performed as soloist in his home country and in Vienna, as well as in Japan, collaborating with renowned orchestras and conductors. He has also participated in numerous festivals in Europe and the United States. For full biographic details, see the artist’s website.
Timothy Ridout performs on a precious, ancient viola from around 1565 – 1575. The instrument maker was Peregrino di Zanetto (Brescia, 1520 – 1606/1609). For more on the instrument see my earlier concert review.
Orchestre de Chambre de Lausanne (OCL)
In this recording, Timothy Ridout is accompanied by the Orchestre de Chambre de Lausanne (OCL), the premier chamber orchestra in the French-speaking part of Switzerland, based in Lausanne. The OCL was founded in 1942 by Victor Desarzens (1908 – 1986), who served as its first artistic director from 1942 to 1973. Desarzens was succeeded by Armin Jordan (1932 – 2006), Lawrence Foster (*1941), Jesús López Cobos (1940 – 2018), Christian Zacharias (*1950), and Joshua Weilerstein (*1987). The current artistic director is Renaud Capuçon (*1976).
Jamie Phillips, Conductor
For this recording, the Orchestre de Chambre de Lausanne performs under the direction of Jamie Phillips. Phillips was born in Birmingham and studied at the Royal Northern College of Music in Manchester. He was a semi-finalist in the 2011 Besançon Competition at the age of 20 and a prize-winner in the 2012 Nestlé Salzburg Young Conductors Award. In 2016 he received a Dudamel Fellowship from the Los Angeles Philharmonic.
Jamie Phillips has worked as a guest conductor with numerous, prominent European orchestras, including the Philharmonia Orchestra, the London Philharmonic Orchestra, and the Royal Philharmonic Orchestra. He also conducted orchestras in Austria, Belgium, Germany, the Netherlands, Norway, Poland, France, Switzerland, and Denmark. At age 20, he was appointed as Assistant Conductor with the Hallé Orchestra in Manchester. The orchestra then created the title of Associate Conductor for him, and he since often returns to conduct subscription concerts.
CD Track Listing
This post features a recording of four pieces for viola and orchestra. The media description (cover image, technical media description, etc.) is found below. Here’s the track listing:
- Ralph Vaughan Williams (1872 – 1958): Suite for Viola and Orchestra [27’09”]
- Group 1 [7’16”]
- I. Prelude: Allegro moderato – Poco animato [2’59”]
- II. Carol: Andante con moto [2’20”]
- III. Christmas Dance: Allegro pesante [1’57”]
- Group 2 [9’21”]
- I. Ballad: Lento non troppo – Allegro ma non troppo – Tempo I – Largamente [5’43”]
- II. Moto Perpetuo: Allegro [3’38”]
- Group 3 [10’32”]
- I. Musette, Lento – Poco animato [4’40”]
- II. Polka Mélancolique, Molto moderato – Poco più mosso [3’28”]
- III. Galop, Allegro molto – Animato [2’25”]
- Group 1 [7’16”]
- Buhuslav Martinů (1890 – 1959): Rhapsody-Concerto for Viola and Orchestra H.337 [19’38”]
- I. Moderato – Poco meno – Tempo I [9’06”]
- II. Molto adagio – Molto tranquillo – Poco vivo – Poco Allegro – Allegro – Andante (molto tranquillo) [10’32”]
- Paul Hindemith (1895 – 1959): Trauermusik für Streichorchester mit Solobratsche [7’22”]
- I. Langsam (Lento) – Lebhafter (più mosso) [3’06”]
- II. Ruhig bewegt (Poco mosso) [0’42”]
- III. Lebhaft (Vivo) – ritardando – Langsam (lento) [1’16”]
- IV. Choral “Für deinen Thron tret ich hiermit“: Sehr langsam (Largo) [2’18”]
- Benjamin Britten (1913 – 1976): Lachrymae for Viola and String Orchestra, op.48a [14’48”]
Total duration: 68’56”
The recording took place in September 2019 in the Salle Métropole in Lausanne. Claves Records served as the executive producer.
Works and Interpretation
Ralph Vaughan Williams (1872 – 1958): Suite for Viola and Orchestra
The Composer
The English composer Sir Ralph Vaughan Williams (1872 – 1958) was one of the most important English composers of the last century. He was the fourth composer to be awarded the Order of Merit after Edward Elgar (1857 – 1934), William Walton (1902 – 1983), and Benjamin Britten (1913 – 1976). Vaughan Williams’ substantial oeuvre includes operas, incidental music, ballets, orchestral music, concertos, choral and vocal works, chamber music, keyboard works, film scores, and music for military, brass, and concert bands.
The Work: Suite for Viola and Orchestra
The Suite for Viola and Orchestra, also known as Suite for Viola and Small Orchestra is a work from 1933 and 1934. It is dedicated to the violist Lionel Tertis (1876 – 1975), who also premiered the work in London, in November 1934. The Suite is set for solo viola, 2 flutes, 1 oboe, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion, celesta, harp, and strings. It consists of eight movements, originally published in three groups, with the following tempo annotations:
The Interpretation, Experiencing the Music
Based on its length alone, Vaughan Williams’ “Suite for Viola and Small Orchestra” is the most significant piece in this recording. Its placement at the beginning establishes it as the “signature” piece.
Group 1
I. Prelude: Allegro moderato – Poco animato
The Prelude begins instantly captures the listener’s attention. First, there is the exceptional beauty of the solo part, especially in the main theme with its ascending semiquaver figures, but also in the secondary theme in slower notes. Then, there is the polyphonic structure and dialog with the clarinet, bassoon, and flute, which is almost too harmonious and beautiful! The piece’s masterful orchestration contributes to this effect: the violins remain silent, and only one woodwind instrument plays per voice. The cello and viola parts are divided, creating a soundscape that often feels like chamber music. Of course, Timothy Ridout’s expressive tenuto playing and the exceptional roundness of his instrument’s sonority and its mellow, smooth tone are at the core of the ravishing beauty of this opening.
II. Carol: Andante con moto
The Carol combines a sense of high romanticism, the beauty of Baroque arias, and the influence of French Impressionism to create a calm, solemn, serene, and atmospheric piece. The solo viola is the main melody voice, which is later complemented by a solo flute imitating the viola.
III. Christmas Dance: Allegro pesante
This is a cheerful folk dance, in which the solo viola “leads the pack” with powerful three- and four-stop chords. The slightly rough, “archaic” tone of Timothy Ridout’s ancient viola is ideal for this type of music. The pesante refers to the heavy 3/4 rhythm that is occasionally disrupted by “clumsy” hemiolas. A wildly whirling, boisterous dance, with calmer, pastoral episodes that feel slightly melancholic. Catchy and enthralling.
Group 2
I. Ballad: Lento non troppo – Allegro ma non troppo – Tempo I – Largamente
Above the soft, misty sound of the muted orchestra, the solo viola raises its velvety alto voice in a beautiful, melancholic cantilena. Its sonority is warm and devoid of the nasal quality often associated with the viola. In the Allegro ma non troppo, the viola’s singing intensifies expressively while the accompaniment alternates between the oboe, flute, horn, and the whining of the muted violins. Gradually, the music reverts to the initial Lento non troppo. This highly atmospheric piece evokes the mood of winter hours in twilight.
II. Moto Perpetuo: Allegro
The second piece in Group 2 is a virtuosic showpiece. The solo part is technically demanding, moving forward restlessly in continuous semiquavers without a single pause. The solo alternates between rapid détaché, legato, and staccato playing, often in double and triple stop figures. At the same time, the solo covers a wide dynamic range, from subtle, intimate pianissimo to expressive, almost frenzied outbursts. Timothy Ridout seems to master this piece effortlessly—excellent!
Group 3
I. Musette: Lento – Poco animato
This intimate piece begins with the subtle, muted solo viola gradually emerging from the warm, soft sounds of the harp, and the ethereal ppp chiming of the celesta. The initial orchestration is minimal with only one muted instrument per voice. The soothing, comforting melodies of the Lento section feel like a bedtime song for a child. The Poco animato livens up in a gentle, broad arch, supported by flutes and oboe, returning to the solace and comfort of the initial Lento. Ultimately the piece transcends into infinity—charmingly beautiful music!
II. Polka Mélancolique: Molto moderato – Poco più mosso
In the final two pieces, Vaughan Williams transitions from simpler character pieces and dances to movements that could be part of a standard concerto. These movements are more elaborate in form, more diverse in expression and structure. Both pieces feature rhythmically free solo segments labeled cadenza or quasi cadenza.
The orchestra opens the Polka movement with a brief, catchy two-bar fanfare. Then, the solo viola introduces its own equally catchy theme, which starts with a motif from the fanfare but is characterized by intermittent quaver triplet passages reserved for the solo part throughout the movement. At the Poco piú mosso, the steady pizzicato accompaniment gives way to a noticeably more vivid pace, at which the orchestra picks up motifs from the solo part. The piece builds to a short climax. Then, a brief solo in semiquavers leads back to the initial theme with pizzicato accompaniment. Is this the refrain in a rondo form?
The transition to the second, longer Poco più mosso episode is more gradual. However, the denser texture and shorter note values give the music a faster feel. This culminates in a climax with a fermata, followed by a brief cadenza in semiquaver sextuplets. The third instance of the rondo theme features the solo part in double stop notation. The coda is a brief reminiscence of the main theme, followed by a final solo cadenza in ascending semiquaver waves and subtle flageolet notes, vanishing into ppp.
III. Galop: Allegro molto – Animato
The final piece, Galop, gives the soloist the opportunity to demonstrate their virtuosity and agility through a variety of techniques. The enthralling first part is in 2/4 time and features hocket-like pizzicato accompaniment. The solo’s strongly rhythmic beginning creates special sounds by doubling the a’ on the d’ string. Later, the solo part excels in rapid semiquaver passages, intricate rhythms, and virtuosic double and triple stop playing.
The central section is in 6/8 time with a simpler rhythm. It has a march-like feel, and the solo often plays in a duet with the piccolo. The final section returns to 2/4 meter and the captivating hocket rhythm. A short cadenza in rapid semiquavers leads to a surprising ending with an explosive, short crescendo burst.
Summary
Vaughan Williams’ Suite for Viola and Small Orchestra feels relatively traditional, with melodies and harmonies that are almost too pleasant. Unlike the works of other composers from that period, or even some of Vaughan Williams’s own pieces, such as his Symphony No.4, which he composed around the same time as the Suite, it is not modernistic at all. The forms are simple and compact, and the melodies and harmonies stay close to folk music. This does not mean that the music is “too easy”, let alone simplistic. On the contrary, the music is a rich experience for the listener, and surely rewarding for the artist. It is actually a real gem in the viola repertoire. It breathes the true spirit of British music. Highly recommended!
Bohuslav Martinů (1890 – 1959): Rhapsody-Concerto for Viola and Orchestra, H.337
The Composer
Bohuslav Martinů (1890 – 1959) was a Czech composer born in Polička, a town in Bohemia. Notably, he was born in the tower of the St.Jakub Church. 1906 he moved to Prague, to study at the Prague Conservatory. Violin lessons were required, but Martinů was not particularly successful. After being dismissed from the violin program, he transferred to the organ department, which also taught composition. However, he was dismissed again in 1910 for negligence. He then returned to Polička, where he studied independently and began composing. He worked as a violinist first with the National Theatre Orchestra and later with the Czech Philharmonic Orchestra, which then was directed by Václav Talich (1883 – 1961).
From1923 to 1940, Martinů lived in Paris, where he studied with Albert Roussel (1869 – 1937). He also was influenced by jazz, neoclassicism, and surrealism and was drawn to the music of Igor Stravinsky (1882 – 1971). Due to the war, Martinů was forced to leave Paris. With the help of his benefactor and conductor, Paul Sacher (1906 – 1999), he managed to emigrate to the United States, where he lived and taught until 1953. He then returned to Europe and first settled in Nice. He later moved to Pratteln, Switzerland, where he lived as a guest of Paul Sacher until his death.
The Work: Rhapsody-Concerto for Viola and Orchestra H.337
The Rhapsody-Concerto for Viola and Orchestra H.337 was composed in New York in 1952, towards the end of his stay in the United States. The Rhapsody-Concerto is set for solo viola, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, percussion, and strings. It features two movements:
- Moderato – Poco meno – Tempo I
- Molto adagio – Molto tranquillo – Poco vivo – Poco Allegro – Allegro – Andante (molto tranquillo)
The Interpretation, Experiencing the Music
To me, “Rhapsody” implies a piece that is freer than one bound to traditional movement structures, such as sonata form. “Concerto”, on the other hand, refers to the prominent role of the solo instrument. And a concerto it is, indeed!
I. Moderato – Poco meno – Tempo I
This is an undeniably beautiful piece, influenced by Czech folk music, with “asymmetric” and often complex rhythmic structures. In this movement, the meter alternates between 6/8, 3/8, 4/8, and 3/4. The melodies and colors in the orchestral introduction evoke the composer’s homeland and are reminiscent of music by Antonín Dvořák (1841 – 1904). However, the music uses Martinů’s personal idiom, with “floating” harmonies that seem to “home in” on a key momentarily before wandering off again, leaving the listener suspended. To Western ears, at least, the music sounds slightly melancholic and longing.
The solo part takes up the melodic theme(s) from the introduction. It demonstrates the composer’s profound familiarity with the viola, its potential, its capabilities, and its sonority as a solo instrument. At the same time, Martinů’s instrumentation is masterful. It ensures the viola retains its presence throughout the piece (with the help by the sound engineer, of course). Especially in the Poco meno (slightly faster) sections, the solo part is technically demanding, featuring tricky double stop passages and rhythmic intricacies, as well as beautiful cantilenas. Timothy Ridout’s playing is flawless, with dense, enchanting sonority in the cantilenas contrasting with a pithy, gripping tone in the virtuosic double stop segments. The recording shows him “in the driver’s seat” throughout the movement.
II. Molto adagio – Molto tranquillo – Poco vivo – Poco Allegro – Allegro – Andante (molto tranquillo)
The elegiac theme is first introduced by the two flutes in unison, then taken over and expanded by the solo viola. The soloist again ventures into complex passages of double, triple, and quadruple stops, not to create hidden polyphony, but to incorporate harmonies that are complemented or contrasted by the orchestra. Beautiful cantilenas reminiscent of the slow movement of Dvořák’s Symphony No.9 in E minor, “From the New World”, op.95, B.178, follow. The brief Poco vivo section ends with a fermata, followed by a cadenza. Initially expressive with slow semiquavers, the cadenza builds with double-stop polyphony, culminating in wide, arpeggiated chords with rapid semiquavers.
The Allegro section is dominated by rapid double-stop staccato, showcasing over-excited, whirling virtuosity in both the solo viola and the orchestra. At the climax, the frantic semiquavers abruptly cease. The solo viola returns to the highly expressive, melancholic “Dvořák cantilena”, interrupted briefly by a reminiscence of the whirling dance, now pp and sul ponticello. This is a solemn, peaceful and soothing ending.
Summary
At first glance, this may seem “less than a full concerto”. However, it includes all the elements of a full concerto: fast and enthralling passages; lyrical, expressive cantilenas; folk dance-like elements; a strong “scent of Czech music”; and rich colors and beauty, as well as suspense. This piece deserves to be a mainstay in the viola concerto repertoire, and it is an enriching and memorable experience for listeners.
Paul Hindemith (1895 – 1959): Trauermusik für Streichorchester mit Solobratsche
The Composer
Paul Hindemith (1895 – 1959), a German and American composer, music theorist, teacher, violist, and conductor, was born in Hanau, near Frankfurt. He initially played the violin. In 1914, he became the deputy leader of the Frankfurt Opera Orchestra and was promoted to concertmaster in 1916. From 1914 on, he played second violin and later the viola in the Rebner Quartet. 1921, he founded the Amar Quartet, in which he played the viola. In the 1930s Hindemith’s career as a teacher, violist, and viola d’amore player took him to Egypt, Turkey, and to the United States.
In 1935, the Nazi regime denounced him as an “atonal noisemaker”. He emigrated to Switzerland in 1938. Two years later, he moved to the United States, where he was active and successful as teacher, with numerous notable students. He became a US citizen in 1946 but returned to Europe in 1953. He lived in Zürich and taught at Zurich University until retiring in 1957. Hindemith left behind a substantial oeuvre spanning a wide range of genres from opera and oratorio to piano music.
The Work: Trauermusik für Streichorchester mit Solobratsche
The Trauermusik für Streichorchester mit Solobratsche (Mourning Music for viola and string orchestra) is a composition from 1936. Here’s the background information from Wikipedia:
On 19 January 1936, Paul Hindemith travelled to London, intending to play his viola concerto Der Schwanendreher, with Sir Adrian Boult (1889 – 1983) and the BBC Symphony Orchestra in Queen’s Hall, on 22 January. This was to be the British premiere of the work. — However, just before midnight on 20 January, King George V died. The concert was cancelled, but Boult and the BBC music producer […] still wanted Hindemith’s involvement […]. They debated for hours what might be a suitable piece, but nothing could be found, so it was decided that Hindemith should write something new. The following day, from 11 a.m. to 5 p.m., Hindemith sat in an office made available to him by the BBC and wrote Trauermusik in homage to the late king. […] Trauermusik was performed that evening in a live broadcast from a BBC radio studio, with Boult conducting and the composer as soloist.
The Movements
Hindemith’s Trauermusik consists of four short movements, as shown below. The description below is again quoted from Wikipedia:
- Langsam (Lento) – Lebhafter (più mosso)
- Ruhig bewegt (Poco mosso)
- Lebhaft (Vivo) – ritardando – Langsam (lento)
- Choral “Für deinen Thron tret ich hiermit“: Sehr langsam (Largo)
The last movement is the heart of the work. Hindemith intended to quote the chorale “Vor deinen Thron tret’ ich hiermit” (“Here I appear in front of Thy throne”), the words being well known from Johann Sebastian Bach‘s deathbed composition. Hindemith chose Bach’s harmonization BWV 327, unaware at the time, that the original manuscript of this setting is without text and that the text “Vor deinen Thron” was added only by the editors […], whereas Bach […] always used the tune “Wenn wir in höchsten Nöten sein” (BWV 641) from the Orgelbüchlein, BWV 599 – 644. The tune of BWV 327, on its part, was very familiar in England as the “Old 100th“, to the words “All people that on Earth do dwell”.
The Interpretation, Experiencing the Music
I. Langsam (Lento) – Lebhafter (più mosso)
This is a beautiful yet truly sad lament. Its hesitant steps follow a punctuated rhythm. One can easily picture a state funeral procession. The music constantly modulates, and whenever it hints at brightness or a major key, the composer shifts to a more somber harmony. When the dynamics approach a climax, such as in bar 8, the music instantly falls back to the introverted mourning mood. Around the middle of the three-minute movement, the solo viola enters, and the piece becomes a calm recitative. Ascending figures build traces of hope. As the piece accelerates, there are signs of resolution and perhaps even rebellion against the dark forces in the orchestra. Inevitably, resignation follows. Only the final E major chord leaves a little hope for transfiguration.
II. Ruhig bewegt (Poco mosso)
The short second movement begins as chamber music for viola and string quartet. Initially, the solo viola carries the narration—a retrospective for the deceased monarch? After four bars, cello and violin add a second contrapuntal voice in octaves. In the final four bars, the full orchestra paints a broader picture, and the solo viola livens up with expressive short phrases.
III. Lebhaft (Vivo) – Ritardando – Langsam (lento)
Without leaving the earnest and determined atmosphere, the third movement paints a picture with broad, emphatic and determined strokes. Often, soloist and orchestra play in turns. In segments where Timothy Ridout and the orchestra play together in strong fortissimo gestures, the solo viola produces intense, emphatic tones in the soprano register. Thus, the soloist maintains its dominant role throughout the movement. The final bars (ritardando – Langsam) are a retreat into pp, and a transition to the final movement.
IV. Choral “Für deinen Thron tret ich hiermit“: Sehr langsam (Largo)
The Bach chorale remains entirely within the orchestra and stays close to Baroque harmonies. Each chorale phrase ends with a long fermata, during which the Timothy Ridout plays a short, highly expressive cantilena. The combination of touching solemnness and melancholy is otherworldly!
Summary
Hindemith’s Trauermusik is rarely performed on stage, but definitely a precious little gem
Benjamin Britten (1913 – 1976): Lachrymae for Viola and String Orchestra, op.48a
A recent review featured a recording of music for viola and piano. That CD included a performance of Lachrymae for Viola and Piano, op.48 by Benjamin Britten (1913 – 1976). By coincidence, this recording includes that very same composition, though now in the composer’s own transcription now known as Lachrymae for Viola and String Orchestra, op.48a. The structure of the composition is the same. Instead of referring to the last review post, let me simply repeat the work description here.
In 1950, the English composer Benjamin Britten (1913 – 1976)—himself also a violist—wrote his “Lachrymae“, op.48, a “Reflection about a song by J. Dowland“, for viola and piano. Britten borrowed the title from a collection of instrumental works by John Dowland (1563 – 1626) rather than from a specific song. The collection is titled “Lachrymae“, or “Seven Teares“ and was published in 1604.
The Work: Lachrymae for Viola and String Orchestra, op.48a
The composition is a set of variations, in which the actual theme, John Dowland’s song “If my complaints could passions move” (from “The First Booke of Songs or Ayres“), is presented only at the end of the set. The preceding variations digest merely fragments of the theme, typically the first three or four notes. The title of Britten’s composition, “Lachrymae” means “tears” and refers to another one of Downland’s song “Flow my tears“ (from “The Second Booke of Songs or Ayres“), which was initially (1596) published as an instrumental piece under the title “Lachrimae pavane“. That second theme appears in Variation No.6 (Appassionato). The twelve segments (variations) of the composition are as follows:
- Lento (theme)
- Allegretto molto comodo
- Animato
- Tranquillo
- Allegro con moto
- Largamente
- Appassionato
- Alla Valse moderato
- Allegro marcia a punta
- Lento
- L’istesso tempo — A tempo semplice (theme)
Britten dedicated the original version of Lachrymae for Viola and Piano, op.48 to the violist William Primrose (1904 – 1982), with whom the composer also premiered the work in 1950. In 1976, Benjamin Britten arranged Lachrymae, op.48, for viola and string orchestra. The arrangement is dedicated to one of the leading chamber musicians of the last century, the South African / British violist Cecil Aronowitz (1916 – 1978).
This is my second consecutive CD review of music for viola. Coincidentally, both CDs feature Benjamin Britten’s Lachrymae. However, it’s not an exact overlap: the recording discussed in my last review (released by the same label in 2023) featured Britten’s original version of Lachrymae, written for viola and piano (Britten’s op.48), performed by the Bulgarian violist Izabel Markova (*1997) and the Italian pianist Irene Puccia. This review deals with the version for viola and string orchestra.
The Interpretation, Experiencing the Music
Given my recent review of Lachrymae op.48 for viola and piano, I will avoid repeating my description of the music. Instead, the comments below focus on the differences between the two versions and aspects specific to the version for viola and string orchestra.
Theme, Variations 1 – 2
It’s interesting and fascinating to observe how switching from the original piano part to an orchestra not only changes the sonority and alters the balance between solo and accompaniment, as expected, but also changes the atmosphere and character of the music. The Lento in the original version evokes suspense and eeriness, perhaps depicting a desolate landscape. The inherent roundness and warmth of the orchestral sound shifts the atmosphere toward intimacy and reflection. While the solo initially suggests loneliness, it quickly becomes integrated into the orchestral soundscape. My initial impression is that it’s more than a mere transcription; it’s a new piece.
In the first variation, Allegretto molto comodo, the orchestra gradually emerges from the shadow of the solo part to engage in a playful dialog. In contrast, the original version feels more capricious, joking. Variation 2, Animato, highlights Timothy Ridout’s lively, very expressive pizzicato. The intermittent orchestral chord responses add an element of mystery—beautiful and harmonious!
Variations 3 – 7
In Variation 3, Tranquillo, the orchestral version has a clear advantage over the original due to the subtlety and added colors of the orchestral accompaniment. This continues in Variation 4, Allegro con moto, where the viola shines with its highly expressive and emphatic performance. Its pithy tone and articulation stand out against the powerful low orchestral strings. In Variation 5, Largamente (attacca), the viola’s vehement broken chords appear to compete with the equivalent orchestral responses. The viola’s sonority is excellent and impressive—though the sound proportions of the recording are impossible to achieve in a concert hall. The original version for viola and piano can hardly beat the overall effect in the orchestral performance.
In the subsequent Variation 6, Appassionato (attacca), the viola again dominates with its dense, intense tone in the second theme, “Flow my tears“. Compared to the chamber music version, the quaver triplets in the “orchestral underground” are more structured, as bass and descant appear in separate orchestral registers. Variation 7, Alla Valse moderato, features an interesting accompaniment effect: in the crotchet pairs, the first note is played with the bow (arco, staccato), while the second crotchet is played pizzicato. This adds extra rhythmic momentum and tension within each bar—interesting! Compared to the first version, the orchestral accompaniment appears more subtle and discreet—though some of this may be done by the sound engineer (see below).
Variations 8 – 10, Theme
The orchestral version of Variation 8, Allegro marcia a punta, is much richer. Here, the interjections in the accompaniment are very brief and sharp. They imitate the sul ponticello bowing of the viola in the punctuated motifs. Between these interjections, the orchestra mimics the piano’s sustain pedal with extremely quiet notes that are whispered more than played. The effect is even eerier than in the original version. The Variation 9, Lento, is short, subtle, and ethereal, wandering off into the highest whistled pitches.
Variation 10, L’istesso tempo, is the final version and features the main theme played by the low strings. However, unlike the original version, it sounds like a slow, solemn funeral march. It is more complex and dissonant than the chamber music version. As the music builds, so does the viola’s rapid demisemiquaver tremolo. Soloist and orchestra jointly reach a dense climax, at which point the orchestra adopts the rapid tremolo motifs. After the climax, the tremolo vanishes and gives way to a calmer texture that gradually becomes more harmonious, seamlessly merging into the “chorale” ending, A tempo semplice, all sotto voce. This ending is more subtle than the one in the chamber music version, but is equally touching, soothing, and beautiful.
Recording Setup
Many of the above remarks describe differences from the original chamber music version of “Lacrymae“. I did not always specify whether these differences were caused by Britten’s transcription, the interpretation, or the recording setup. The latter usually plays a minor role in my comments. However, here some remarks are appropriate, even necessary, as I want to do justice to the musicians. Of course, there are fundamental differences between the original chamber music and Britten’s orchestrated version (see above). These differences alone make appreciating and comparing the performances of the two violists challenging. Differences in the recording requirements further complicate such a comparison.
First and foremost: the chamber music and orchestral versions pose vastly different challenges. In “hindsight”, recording the chamber music version seems relatively straightforward; the main challenge is giving the two instruments adequate presence. Typically the artists alone should be able to achieve a good acoustic balance, which should work equally well for a recording and in concert.
Capturing the sound of an orchestra is challenging enough. Adding a solo viola to the mix poses an additional challenge, as the solo instrument is surrounded by the orchestra both physically and sonically, within the orchestral sound texture. Sound engineers usually position the soloist in the center foreground and record the orchestra with separate microphones and reduce its volume to ensure the soloist’s presence throughout.
Soundscape
Given the above, it would be unfair to compare the soundscapes of the orchestral and chamber music versions of Lacrymae. However, such a comparison highlights some of the characteristics of the recording. Therefore, I’m still writing down my first-hand impressions to characterize the orchestral soundscape. These remarks should not be seen as qualifying statements, though. Mutatis mutandis, the observations apply to the entire recording.
Impressions
I get the impression is that the sound engineer may occasionally have overdone placing the viola into the foreground. Even though the recording lacks the ultimate clarity of a chamber music recording, the viola rarely is in danger of drowning in the sound of the orchestra, even though its sound appears slightly veiled. The latter may be the result of an attempt by the sound engineer to minimize “by-noises”, such as from the interaction between bow and string, or the tapping of fingers on the fingerboard.
Especially in some of the soft segments, the orchestra also sounds somewhat veiled and diffuse. Apart from that, the orchestra often lacks clarity, spatial definition, and separation from the solo, especially in the soft passages. Perhaps the intent was to blend the orchestra’s sound with that of the soloist. In soft passages, the orchestra often sounds as if it were playing with mutes. I don’t have the orchestral score, so I don’t know when and where the orchestra is indeed expected to play with mutes, and whether Britten intended to produce this blended sound. However, I doubt that this is the case for most soft passages. Would reducing the size of the orchestra size for soft passages have helped?
Summary
Both the chamber music and orchestral versions of Lacrymae each have their unique advantages. There are variations, especially in the first part, where I prefer the chamber music version, which also gives the viola more exposure. However, in the second part, Lacrymae definitely benefits from the richness of the orchestral soundscape. Overall, both versions and their respective interpretations are equally impressive, and I can’t decide which I prefer. Highly recommended!
Conclusions
This is an excellent addition to the mid-20th-century discography. The music is appealing and covers a broad expressive spectrum. All of the pieces are rarely performed in concerts. The recording quality is excellent, and the performance is outstanding. Timothy Ridout is an artist worth discovering! A highly recommended CD!
Media Information
Ralph Vaughan Williams (1872 – 1958): Suite for Viola and Orchestra
Buhuslav Martinů (1890 – 1959): Rhapsody-Concerto for Viola and Orchestra, H.337
Paul Hindemith (1895 – 1959): Trauermusik für Streichorchester mit Solobratsche
Benjamin Britten (1913 – 1976): Lachrymae, op.48a
Timothy Ridout, viola
Jamie Phillips, Orchestre de chambre de Lausanne
Claves Records S.A. 50-3000 (CD, stereo); ℗ / © 2020; Booklet: 11 pp. en/fr
Acknowledgements
Thanks to Claves Records, SA for sending me the featured CD for reviewing.
