YORK BOWEN: Piano Sonata No. 1 in B minor Op. 6; Piano Sonata No. 2 in C sharp minor Op. 9; Piano Sonata No. 3 in D minor Op. 12 ; Short Sonata in C sharp minor Op. 35 No. 1; Piano Sonata No. 5 in F minor Op. 72; Piano Sonata No. 6 in B flat minor Op.160 – Danny Driver, piano – (2 CDs) Hyperion CDA67751-2; 118:42 *****: [Distrib. by Harmonia mundi]
York Bowen (1884–1961) had a long and fruitful career as pianist, teacher and composer, and after a period in the wilderness – seemingly common even among first-class composers – recordings of his music now abound, the renascence due in part at least to Stephen Hough’s recording also for Hyperion, on CDA66838. In addition, the quite recent reissue of Bowen’s own early recordings on APR6007 and later ones from 1960 on Lyrita, REAM2105, also have enormous value.
The six sonatas were written over a long period of time, the first of these published privately when Bowen was all of 18 years old. Here, the composer owes a debt to Chopin and Grieg, and the Romanticism in this early work develops and matures over the next fifty years and at some point Bowen becomes described as “the English Rachmaninov”. Francis Pott in his excellent essay accompanying this release mentions the “pigeon-holing mentality” which gives rise to this sort of description. He also mentions Bowen’s pupils referred to him with affection, in what I had thought a very modern idiom, as “Uncle YoBo”.
The second sonata, dated 1901 on the manuscript, is like its predecessor full of youthful energy and even more confident in its writing, still in debt to Chopin in particular. The third sonata just predates the First World War, by which time Bowen was in his late twenties and well-known and respected as a recitalist and composer. This is a fine work, in three movements like the second sonata, with a lyrical slow movement and energetic finale, though even at this stage, the writing by now is conservative for its time. The first three sonatas here receive their première recordings.
A fourth sonata (Op.35 No.3) has been mislaid and the Short Sonata (Op.35 No.1) written around the same time and not given a number at the time now effectively takes its place. The first movement has strength in its reticence, the second is pastoral and the last comes across as quite a romp, coincidentally the title of a movement in his Second Suite. Danny Driver shows in these first four sonatas remarkable pianissimos where his control and poetry during these moments is delicious. The bravura content is both tidy and big-boned, the fortissimos never forced.
The fifth sonata followed quite soon afterwards; again in three movements, it is a bigger piece with grander gestures. The sixth sonata dates from 1961 and is perhaps York Bowen’s last work. Though dating from his mid-seventies the composer’s youthful passion shines through, admirably put over by Driver. The first and last movements need some virtuoso playing and Driver’s clarity in these moments is breathtaking. The short intermezzo gives some tranquillity before the light-hearted skittish finale.
Danny Driver has already recorded Bowen’s third and fourth piano concertos to much acclaim, and this cycle of piano sonatas is approached is much the same manner, with total conviction for the music. This valuable release allows us to assess Bowen’s early sonatas, as well as the three mature works, sonatas of some quality and quite demanding of the soloist; listening to these works has been an undiluted pleasure. With fine sonics captured by Simon Eadon at the Henry Wood Hall, London, this recording of 20th century Romantic piano sonatas is yet another gem in Hyperion’s catalogue.
— Peter Joelson
