George Loughlin: Chamber and Instrumental Music
The Liverpudlian George Loughlin (1914–84) was appointed professor of music at the University of Melbourne in 1958, remaining in that post for 21 years. That he was also a composer was generally unknown – a former colleague, hearing one of the pieces on this album, exclaimed: ‘That’s George?’ The earliest works here are audibly by an English composer, one who knew his Vaughan Williams, and blend an honest sincerity with fleet-footed wit. The approach of the later pieces is more philosophical and searching, the harmony more at ease with dissonance and the melodic lines more angular – in both peppy counterpoint and long-breathed lyricism.
Gladys Chua, piano
Darlington String Quartet
Listen To This Recording:
Introduction and Allegro for string quartet (1953) (10:30)
- Introduction (2:57)
- Allegro (7:23)
- Diversion for piano trio (early 1960s) (5:24)
- Folk Tune for Anne (1943) (2:29)
Sonatina for Violin and Piano (1976) (16:20)
- I. Allegro molto (4:29)
- II. Antiphon (3:38)
- III. Theme (1:08)
- III. Var. 1 Ostinato (1:25)
- III. Var 2 Bagatelle (0:56)
- III. Var. 3 Cortège (3:04)
- III. Var. 4 Carillon (1:40)
String Quartet in C (1939) (21:13)
- I. Allegro con brio (6:00)
- II. Presto (4:19)
- III. Andante con moto (4:44)
- IV. Allegro molto e giocoso (6:10)
Spring Trio (1957) (17:22)
- I. Allegro con brio (5:48)
- II. Andante con moto (5:47)
- III. Tarantella (5:47)
MusicWeb International :
‘The early Folk Tune for Anne is a piano piece written for his wife-to-be, in 1943. It’s full of warmth and very brief. On a larger scale is the Violin Sonatina of 1976. This is an attractive, engaging work the pithy dialogues of which add much pleasure. […]
The members of the Darlington String Quartet take on the works in their various permutations and do so with some style but also awareness of textual and expressive matters. […]
Altogether a good case is made for the music of this unknown, expatriate Englishman.’
—Jonathan Woolf, MusicWeb International
American Music Guide :
‘[this album] completes this fascinating portrait of a composer who deserves to be sought out.’
—Dutterer, American Music Guide
Fanfare Magazine :
‘Toccata Classics, aka Martin Anderson, continues on a quest of unearthing worthwhile music by virtually unknown composers, as well as unrecorded music by worthwhile familiar ones. I do believe that George Loughlin well qualifies for the first category. […]
In short, he writes most idiomatically and engagingly for strings, employing fairly elaborate contrapuntal intertwining of lines.[…]
‘The most recent work is immediately followed by the earliest one, the String Quartet in C Major from 1939. Though cast in a particular key, the harmonies are rich, and often move in unexpected (albeit convincing) directions. Clearly the composer had a fine ear and knew instinctively what would work. Since, according to the excellent notes by his younger son, Loughlin did not promote his own music, one wonders how many of these fine works he was able to hear. Whatever the case, the clarity of lines is most admirable, and the work stands as a first-rate example of English chamber music in the post-Elgarian generation. Especially delightful is its second movement, a mercurial and airy Presto in 6/8 meter that combines spiccato bowed lines most effectively with pizzicato in the other instruments. This work owes much to the spirit of English folk music, and the fine performance it receives here by the Darlington String Quartet ought to win it many admirers—and the attention of other quartets. […]
George Loughlin has been a very nice discovery for me, and I’m very happy to become acquainted with the music of a composer I can only wish had had more time to compose. The Australian musicians, including the brilliant pianist Gladys Chua plus the gifted members of the Darlington Quartet (who in various combinations cover all seven works), are extraordinary musicians who vividly bring this music to life. With Toccata’s usual thorough notes and fine presentation, the disc assumes a “must-acquire” status.’
—David DeBoor Canfield, Fanfare Magazine, February 2025