LENNOX IN PARIS Bach/Stern

Various composers
Emmanuel Bach, violin; Jenny Stern, piano
Willowhayne Records (2022)

‘Lennox In Paris’ is a new release this month from Willowhayne Records featuring Emmanuel Bach on violin and Jenny Stern on piano. The selection kicks off with Lennox Berkeley’s ‘Sonatina for Violin and Piano’. Wide intervals in the top line of ‘Moderato’ create a sing-song effect accompanied by carillon motifs on piano. Thrilling yet artful, it is a considered yet soulful performance. For ‘Lento’ is a smokier tonality from the violin, its breath drawn across tender chords. The final movement, conversely, a greeting from an eager child.

There follows ‘Sonata No. 1’, plaintive to start, changing to effervescence, a gently warm tone on violin maintained with absence of vibrato. The mood changes again before the listener is fully aware. In ‘Adagio - Allegro – Adagio’ a searing string is matched by a strident piano. Neither of which content to be ‘pinned-down’. Eventually dissolving, extraordinarily, or is it naturally, into tango-like rhythms. ‘Allegro con brio’ is an exciting passage of expressive variety with slight jazzy touches of syncopation. And then, the reflective grace of ‘Elegy and Toccata’ to touch lightly upon the heart. The toccata benefits from a more stringent tone on violin; a metaphysical counterpoint to the light, swingy compositional gestures.


Next are pieces by Lili Boulanger. ‘D'un matin de printemps’ is a stunning addition to this collection. ‘Nocturne’ assumes a discernibly Romantic melody alongside delicate patterning on piano. ‘Cortège’ appears as an inverted mirror, if there is such a thing, of the ‘Assez modéré’ by Poulenc… And so to Poulenc... His ‘Sonata for Violin and Piano’ offers a thrilling and fanciful opener which midway slows to something other; to an almost romanticised waltz. This again switches, with increased regulation and harmonisation. ‘Intermezzo’ from its pizzicato introduction onward seems too beautiful to convey. One of the best interpretations and performances this is to lose oneself in, to never wish to be found. ‘Presto tragico jolly’ provides an agreeable duality between the instruments; an exquisite interweaving of harmonic and melodic phrases. Following a false ending, two-thirds of the way, its character alters to something melancholic.


Finally, transcriptions by Jascha Heifetz of familiar piano solos. (‘Mouvements perpétuels, Assez modéré’ also recognisable by Hitchcock fans from the killer’s solo in ‘Rope’.) ‘Alerte’ contains gorgeous semi-ostinato motifs, the violin reflected in the piano, in opposition and alignment. Simple and complex, contemporary and traditional. Poulenc achieves such parallels, in parallel here with these exceptional performances.

– Martin Slidel

Available to purchase here.

#Boulanger #EmmanuelBach #FrancisPoulenc #JaschaHeifetz #JennyStern #LennoxBerkeley #LennoxInParis #LiliBoulanger #MartinSlidel #MartinSlidelMusic #MouvementsPerpétuels #MusicReview #NewCD #NewRelease #Piano #Poulenc #Review #Violin #ViolinAndPiano #WillowhayneRecords

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