(2023) British Music for Viola & Piano
Category(ies): Chamber Piano
Instrument(s): Piano Viola
Main Composer: Various composers (see collections)
CD set: 1
Catalog N°:
CD 3073
Release: 22.12.2023
EAN/UPC: 7619931307329
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This album is no longer available on CD.
VAT included for Switzerland & UE
Free shipping
This album is now on repressing. Pre-order it at a special price now.
CHF 18.50
This album is no longer available on CD.
This album has not been released yet.
Pre-order it at a special price now.
CHF 18.50
This album is no longer available on CD.
CHF 18.50
This album is no longer available on CD.
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BRITISH MUSIC FOR VIOLA & PIANO
This project has been a very special adventure for me. I have made every decision deliberately and with a lot of thought. I would like to thank Patrick Peikert, director of Claves Records, for this experience. To have the chance to record a solo CD is an incredible opportunity, which I am endlessly grateful for.
The program I selected, is dedicated to my love for the british viola repertoire. I really wanted the CD to sound as cohesive as possible, whilst it explores all different emotional and timbral ranges. Clarke, Britten and Bowen are three exceptional examples of that.
The Viola sonata by Rebecca Clarke was written in 1919 for a competition in which she tied for first place with Ernest Bloch. Bloch was finally declared the winner. It is speculated that the reason for it was the disbelief that a woman could write such an astounding piece of music. Of course, now we consider her sonata for viola and piano to be a staple piece in the viola repertoire. It has been recorded and performed by world-renowned, incredible violists and it is definitely a pressure for anyone wishing to showcase their interpretation of it. I certainly do feel it, however I am also excited to have had the opportunity. I have been performing it for a few years and so the piece has grown up and evolved with me. It has become my favorite sonata to play and now I am happy to have an immortalized version of it.
The Lachrymae, Reflections on a song by John Dowland was composed by Britten in 1950. It is a piece I have listened to for many years. However I never thought I could it justice. It is exceptionally written and it has so much to say in the span of 15 minutes!
Originally, the piece was written for William Primrose. It is known that the violist didn’t completely understand or appreciate this piece, and has been quoted to say that the “drama and fantasy” was not enough.
It is in fact important to note that during the 20th century, the significance of the interpretation of different works had exponentially increased. Perhaps Primrose was looking for a broader palette, to paint with bigger and bolder strokes.
I find this piece to provide the perfect canvas for just that. Each variation can be its own little universe. Whilst rehearsing with the pianist Irene Puccia, we tried to focus primarily on showcasing as many different characters and almost creating a poetic, story-like quality to the piece.
The final piece, the Phantasy in F major for viola and piano, was written by York Bowen in 1918. It was originally performed by world-renowned violist of the 20th century, Lionel Tertis. The piece, like almost all of Bowen’s viola music was written for Tertis and it really shows what an amazing virtuoso the performer must have been in his prime. This piece also has a certain Brahmsian quality. I worked with the pianist Alla Belova to bring fiery and expressive sound to the surface. It ended up creating the perfect balance of tranquility and passion. I conclude with this piece, because I believe it created an amazing end to this musical story. Being written almost exactly the same time as the viola sonata by Clarke, it can brings back similar themes and hopefully serve as an invitation to relisten.
Izabel Markova
Read more and bios in the booklet
REVIEWS
“Both Markova and her pianist here, the Italian Irene Puccia, excel in the mercurial Vivace middle movement, etching out subtle gradations of mischief and caprice while avoiding the impression that the writing is merely virtuosic. And in the broad rhapsodic sweep of the Adagio finale, Markova summons an almost cello-like richness of tone from her instrument, yet with all the dynamic nuance needed to lend expressivity to Clarke’s richly expansive paragraphs. Even more precise detailing is needed in Britten’s Lachrymae, and the refined poetry Markova brings to the quieter-voiced pizzicato, multi-stopped and sul ponticello ‘reflections’ is particularly impressive. The eventual emergence of the Dowland melody on which Lachrymae is based is seamlessly managed, the tune itself delivered with a moving dignity. York Bowen’s Phantasy, contemporaneous with Clarke’s Sonata, exudes a marked Brahmsian influence. Markova relishes this, phrasing with a rich-toned generosity which suits the music’s temper and a controlled fieriness at its peroration. Markova was just 25 years old when this debut recording was made, and on its evidence she is an artist we’ll be hearing considerably more of in the future.” - Terry Blain, January 2024
"[..] Il duo Markova Puccia (violista bulgara e pianista siciliana) restituisce questa musica con la giusta eleganza, ma anche con rara intensità. Le musiciste sanno poi cambiare colore nelle più malinconiche e neo-rinascimentali Lachrymae di Britten. Questo viaggio sfaccettato nella musica inglese di inizio ‘900 si chiude con la sfolgorante Phantasy op. 54 di York Bowen (al pianoforte un’altra ottima pianista, Alla Belova), compositore dalla mano felicissima, semi-ignorato nell’epoca delle avanguardie ma oggi rivalutato. » - Luca Ciammarughi, November 2023
“An international version of some very British”
“The main work in this interesting recital is the first, Rebecca Clarke’s Sonata. I had been hearing about this piece for a long time without actually hearing it, so I was pleased to have it for review here. [..] The players here are an international team: the violist Izabel Markova is Bulgarian, Irene Puccia, the pianist in the Clarke and the Britten is Italian, and Alla Belova, the pianist in the Bowen is Russian. However, they are now all based in Lausanne, where this recording was made. It is always encouraging to find players from outside Britain taking up our composers and I enjoyed these performances, which are full of fire and spirit. The recording is excellent. There are other recordings of all these works, but not in this combination, so viola fanciers need not hesitate.” - Stephen Barber, March 2024
« La jeune altiste Izabel Markova consacre son premier disque à un très beau programme dédié à trois chefs-d'oeuvre de la musique anglaise signés Clarke, Britten et Bowen. [..] Izabel Markova et sa partenaire Irene Puccia délivrent une interprétation puissante et contrastée de cette partition prenante, notamment dans un Adagio rêveur s'enfonçant peu à peu dans le tragique, et une fantaisie finale pleine de passion. [..] Avec cet album, Izabel Markova nous révèle tout le potentiel de son talent. » - Jean-Marc Petit, juin 2024
(2023) British Music for Viola & Piano - CD 3073
This project has been a very special adventure for me. I have made every decision deliberately and with a lot of thought. I would like to thank Patrick Peikert, director of Claves Records, for this experience. To have the chance to record a solo CD is an incredible opportunity, which I am endlessly grateful for.
The program I selected, is dedicated to my love for the british viola repertoire. I really wanted the CD to sound as cohesive as possible, whilst it explores all different emotional and timbral ranges. Clarke, Britten and Bowen are three exceptional examples of that.
The Viola sonata by Rebecca Clarke was written in 1919 for a competition in which she tied for first place with Ernest Bloch. Bloch was finally declared the winner. It is speculated that the reason for it was the disbelief that a woman could write such an astounding piece of music. Of course, now we consider her sonata for viola and piano to be a staple piece in the viola repertoire. It has been recorded and performed by world-renowned, incredible violists and it is definitely a pressure for anyone wishing to showcase their interpretation of it. I certainly do feel it, however I am also excited to have had the opportunity. I have been performing it for a few years and so the piece has grown up and evolved with me. It has become my favorite sonata to play and now I am happy to have an immortalized version of it.
The Lachrymae, Reflections on a song by John Dowland was composed by Britten in 1950. It is a piece I have listened to for many years. However I never thought I could it justice. It is exceptionally written and it has so much to say in the span of 15 minutes!
Originally, the piece was written for William Primrose. It is known that the violist didn’t completely understand or appreciate this piece, and has been quoted to say that the “drama and fantasy” was not enough.
It is in fact important to note that during the 20th century, the significance of the interpretation of different works had exponentially increased. Perhaps Primrose was looking for a broader palette, to paint with bigger and bolder strokes.
I find this piece to provide the perfect canvas for just that. Each variation can be its own little universe. Whilst rehearsing with the pianist Irene Puccia, we tried to focus primarily on showcasing as many different characters and almost creating a poetic, story-like quality to the piece.
The final piece, the Phantasy in F major for viola and piano, was written by York Bowen in 1918. It was originally performed by world-renowned violist of the 20th century, Lionel Tertis. The piece, like almost all of Bowen’s viola music was written for Tertis and it really shows what an amazing virtuoso the performer must have been in his prime. This piece also has a certain Brahmsian quality. I worked with the pianist Alla Belova to bring fiery and expressive sound to the surface. It ended up creating the perfect balance of tranquility and passion. I conclude with this piece, because I believe it created an amazing end to this musical story. Being written almost exactly the same time as the viola sonata by Clarke, it can brings back similar themes and hopefully serve as an invitation to relisten.
Izabel Markova
Read more and bios in the booklet
REVIEWS
“Both Markova and her pianist here, the Italian Irene Puccia, excel in the mercurial Vivace middle movement, etching out subtle gradations of mischief and caprice while avoiding the impression that the writing is merely virtuosic. And in the broad rhapsodic sweep of the Adagio finale, Markova summons an almost cello-like richness of tone from her instrument, yet with all the dynamic nuance needed to lend expressivity to Clarke’s richly expansive paragraphs. Even more precise detailing is needed in Britten’s Lachrymae, and the refined poetry Markova brings to the quieter-voiced pizzicato, multi-stopped and sul ponticello ‘reflections’ is particularly impressive. The eventual emergence of the Dowland melody on which Lachrymae is based is seamlessly managed, the tune itself delivered with a moving dignity. York Bowen’s Phantasy, contemporaneous with Clarke’s Sonata, exudes a marked Brahmsian influence. Markova relishes this, phrasing with a rich-toned generosity which suits the music’s temper and a controlled fieriness at its peroration. Markova was just 25 years old when this debut recording was made, and on its evidence she is an artist we’ll be hearing considerably more of in the future.” - Terry Blain, January 2024
"[..] Il duo Markova Puccia (violista bulgara e pianista siciliana) restituisce questa musica con la giusta eleganza, ma anche con rara intensità. Le musiciste sanno poi cambiare colore nelle più malinconiche e neo-rinascimentali Lachrymae di Britten. Questo viaggio sfaccettato nella musica inglese di inizio ‘900 si chiude con la sfolgorante Phantasy op. 54 di York Bowen (al pianoforte un’altra ottima pianista, Alla Belova), compositore dalla mano felicissima, semi-ignorato nell’epoca delle avanguardie ma oggi rivalutato. » - Luca Ciammarughi, November 2023
“An international version of some very British”
“The main work in this interesting recital is the first, Rebecca Clarke’s Sonata. I had been hearing about this piece for a long time without actually hearing it, so I was pleased to have it for review here. [..] The players here are an international team: the violist Izabel Markova is Bulgarian, Irene Puccia, the pianist in the Clarke and the Britten is Italian, and Alla Belova, the pianist in the Bowen is Russian. However, they are now all based in Lausanne, where this recording was made. It is always encouraging to find players from outside Britain taking up our composers and I enjoyed these performances, which are full of fire and spirit. The recording is excellent. There are other recordings of all these works, but not in this combination, so viola fanciers need not hesitate.” - Stephen Barber, March 2024
« La jeune altiste Izabel Markova consacre son premier disque à un très beau programme dédié à trois chefs-d'oeuvre de la musique anglaise signés Clarke, Britten et Bowen. [..] Izabel Markova et sa partenaire Irene Puccia délivrent une interprétation puissante et contrastée de cette partition prenante, notamment dans un Adagio rêveur s'enfonçant peu à peu dans le tragique, et une fantaisie finale pleine de passion. [..] Avec cet album, Izabel Markova nous révèle tout le potentiel de son talent. » - Jean-Marc Petit, juin 2024
Return to the album | Read the booklet | Composer(s): Various composers | Main Artist: Izabel Markova
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