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Comment: Cyril Scott - Violin Sonatas Nos.1 And 3, Sonata Melodica - CD - German Pressing - Naxos - 2008 - 10 Track (8572290), Condition (Sleeve/Disc) ex/ex. Worldwide shipping. Quick dispatch. International orders sent Airmail.
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Scott: Violin And Piano Music (Violin Sonatas Nos. 1/ 3/ Sonata Melodica) CD

5.0 out of 5 stars 2 customer reviews

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Product details

  • Performer: Clare Howick & Sophia Rahman
  • Conductor: none
  • Composer: Cyril Scott
  • Audio CD (28 Jun. 2010)
  • Number of Discs: 1
  • Format: CD
  • Label: NAXOS
  • ASIN: B003NA7GBA
  • Other Editions: Audio CD
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 169,370 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. Violin Sonata No. 1, Op. 59 - Clare Howick/Sophia Rahman
  2. Sonata Melodica - Clare Howick/Sophia Rahman
  3. Violin Sonata No. 3 - Clare Howick/Sophia Rahman

Product Description

Product Description

Works for violin and piano are an important part of Cyril Scott's chamber music. This disc presents three sonatas which span his output. The capricious and ruminative First Violin Sonata ranks among the most convincing and successful of his earlier large-scale compositions. Sonata Melodica is a more relaxed yet equally quixotic work, while the Third Violin Sonata is one of the most inventive from his later years.

Customer Reviews

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Format: Audio CD Verified Purchase
Of all the many recordings of Cyril Scott that have come out over the last few years my favourite has been the Dutton recording by these two players of the hitherto mislaid and utterly unknown Sonata Lirica. Nothing, therefore, could be more welcome than this recording by the same two musicians of Scott's three published violin sonatas. It has all the merits of its predecessor - a perfect grasp of Scott's idiom and how to communicate it, beauty of tone and perfect intonation from the violinist, the right balance between the two players, and a rich yet clear recorded sound. What of the works themselves?

Scott's First Violin Sonata of 1908 used always to be mentioned together with the First Piano Sonata of 1909 as marking his maturation as a composer. Highly distinctive are the melismatic melodic lines, with motifs that expand and contract freely, generating Scott's then revolutionary irregular barring. The harmony is equally air-borne, with its constant enharmonic modulations and lack of resolution except at the end of movements. The drawback is that the harmony lacks both tension and a sense of direction; the style fits short pieces (such as the Poems for piano) better than longer ones. But what saves the present work is its youthful verve and the brilliance of the writing for the instruments.

The Sonata Melodica of 1950 is no less of a milestone, in that it was in this piece that Scott created his late style, with which he proceeded to write a whole series of chamber works and the Third Piano Sonata; it is interesting to compare the exactly contemporary Second String Quartet, one of Scott's best works but not in his final manner.
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Most Helpful Customer Reviews on (beta) 4.0 out of 5 stars 1 review
4.0 out of 5 stars Good music for a Sunday afternoon 28 Oct. 2012
By E. Weed - Published on
Format: Audio CD Verified Purchase
Dr. Price, whose review is previous to mine, seems to know Cyril Scott's music better than I, but based upon what I have heard of it, I would concur that this CD is a good place to start for listeners who think they might find Scott's music to their liking. (I've listened to several of the solo piano music volumes on Dutton, and to the piano concertos on Lyrita, and the Lyrita release would be another good place to go. The solo piano music seemed inconsistent, and did not, to me, compel repeated listenings. This Naxos CD found its way to my player several times in a few days, in contrast.)

To whom would this music appeal? The notes to this issue mention Debussy and Scriabin as influences, and those names indeed popped into my head frequently when listening. Syzmanowski also comes to mind. Scott does not have the melodic gift of any of those, but he effectively creates an atmoshere of what one might call "mystic impressionism" with an Eastern tinge. (And Scott was certainly drawn to Eastern mysticism, as he was to homeopathy and osteopathy, as mentioned in the notes.) Even though the works on this CD come from early and late in Scott's career, I hear a close resemblance in harmonic profile.

Sometimes I listen to music with no distractions, but often I listen while I read a book, and sometimes on Sunday afternoons, I may lounge on the couch, half snoozing and half watching the birds at the feeder in the yard while a CD plays in the background. At times like that, I like listening to something that does not insist upon my undivided attention but instead insinuates itelf into my consciousness, the sort of music I can lose myself into if I want to, or just let wash over me. This CD will fit well into the small pile of CDs that I keep aside for that purpose: consistent in mood, thoughtfully constructed, and well-played. These pieces are not, to my mind, masterpieces, but otherwise meet my criteria for a Sunday afternoon, and there is never enough of that.
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