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Hans Gál: Chamber Music, Volume Three

These five works, from three different stages of Hans Gál’s long life (1890–1987), all show his consummate craftsmanship but are otherwise quite different in character. The passionate Piano Quartet (1914), downstream from Brahms and Dvořák, brings the grand gestures of Romanticism into the early twentieth century. The 1935 Sonatina in F major for violin and piano, recently rediscovered, and the three Sonatinas from 1956 put a premium on textural clarity and lyrical approachability; here the contrapuntal ingenuity, ceaseless thematic development, harmonic freedom and rhythmic unpredictability of Gál’s language animate the music from within.

Katalin Kertész, violin
Nichola Blakey, (viola 1 – 4)
Cressida Nash, (cello 1 – 4)
Sarah Beth Briggs, piano

Josef Schelb: Chamber Music with Clarinet

The Karlsruhe-based Josef Schelb (1894–1977) is one of the better-kept secrets of twentieth-century German music. His output was substantial: he lost most of his early music in a bombing raid in 1942, but – as if to make up for lost time – wrote some 150 more works after that. These four, for clarinet in various chamber combinations, show his music emerging from the influence of Hindemith and Berg and developing a freewheeling energy, contrapuntal command and rhythmic charge of its own – often animated by a touch of devilish humour.

Busch Kollegium Karlsruhe
Bettina Beigelbeck, clarinet
Yasushi Ideue, violin (Tracks 5–7, 12–15)
Ayu Ideue, violin (Tracks 5–7)
Wolfgang Wahl, viola (Tracks 5–11)
Gabriela Bradley, cello (Tracks 8–11)
Bernhard Lörcher, cello (Tracks 1–7)
Manfred Kratzer, piano (Tracks 1–4)

Einar England: Complete Music for Solo Piano

Einar Englund: Complete Music for Solo Piano

Einar Englund (1916–99) was not only one of Finland’s major symphonists; he was also one of his country’s most important pianists and was destined for a career as a virtuoso until, as a soldier, he damaged a finger in a battle against the invading Russians. He wrote surprisingly little for his own instrument, but the works he did produce glitter with a Prokofievan steely strength and textural clarity, animated with the ironic humour that was typical of the composer himself.

Laura Mikkola, piano

Alexandre Tansman: Piano Music, Vol. 2

Alexandre Tansman (1897–1986) was one of the most prolific composers of the twentieth century. His fundamental style is a Stravinskyan Neo-Classicism, animated by the dance-rhythms of his native Poland and energised by a masterly command of counterpoint. This second instalment in the first-ever survey of his piano music demonstrates its stylistic range, from Neo-Baroque via Polish folk-music and the orient to the blues.

Danny Zelibor, piano

Stephen Dodgson: Chamber Music, Volume Two: Three Quintets

These three quintets by the London-born Stephen Dodgson (1924–2013) continue the exploration of his chamber music on Toccata Classics. Dodgson’s musical language inherited something of Shostakovich’s irony, Janáček’s spiky energy and Britten’s polished clarity, occasionally reaching further into the past in passages of Purcellian dignity, all animated with a gentle harmonic warmth of Dodgson’s own. The result, in a typically English paradox, manages to be both elusive and direct.

Tippett Quartet
Emma Abbate, piano (Tracks 1-4, 8-10)
Susan Monks, cello (Tracks 5-7)