”…superbly responsive playing by Harriet Mackenzie and Philippa Mo – who project the music’s often intricate contrapuntal interweaving with faultless technique and unfailing insight. An auspicious release from Retorica …I hope that more will follow.”
Richard Whitehouse, Gramophone Magazine
BBC MUSIC MAGAZINE
”…their touch is quite virtuous.”
Adriana Santerelli, BBC Music Magazine 2013
COMPOSITION TODAY
If a programme of music for two violins does not sound like a very appealing prospect, check out Retorica’s debut disk, just released on NMC. Violinists Harriet Mackenzie and Philippa Mo have made it something of a mission to bring this little-known repertoire to a wider audience. Even the name of their duo – the Italian feminine form of the word rhetoric – is a reflection of this: just as rhetoric could be said to be artful persuasion in speech, they seek to do the same through their playing. They succeed here by the oratorical bucket-load.
The all-English programme consists of: Jim Aithison’s Syruw: Five Kazakh Tableaux, John McCabe’s Spielend, Moeran’s Sonata for two violins, William Croft’s Sonata IV Op. 3 No. 4, David Matthews’ Eight Duos, and Alan Rawsthorne’s Theme and Variations. It is a well thought-out programme; many of the pieces have a distinct feeling of place, especially by their link to the English pastoral tradition (or in some cases their reaction against it). The Croft, placed mid-programme, in itself a lovely piece, also acts as a clever amuse oreilles before we return to the twentieth-century for the last two works. It also ends with the same lilting rhythms with which the Matthews begins, providing a nice sense of connectivity.
There is a strong pictorial element in many of these works, none more than the first on the disk, Jim Aitchison’sSyruw. The composer has long forged connections with the art world, and this piece was designed to be performed with an exhibition that explored Kazakh life and textiles. It consists of a series of delightful and expertly-realised vignettes, from the stillness of the opening, whose little disturbances presage the gentle breeze of the second movement through to ‘an exaggerated tale’, which seems capture a storyteller in the very act. The Matthews has a similarly visual feel. There is a sense of connectedness between some of the movements, especially in the emphasis on the pastoral and, in the sixth movement entitled ‘Contra-Pastoral’, its urban equivalent. The whole can also, however, be understood as a series of hors d’oeuvres-like ‘moments’, each element entire unto itself, but much more satisfying when consumed together.
The other three twentieth-century works on the disk use more abstract structures. In the case of the Rawsthorne this is a closely argued theme and variations, though the emphasis on short movements provides a not dissimilar feeling to the Aitchison and Matthews. There is no doubting the fact, however, that this was intended as a much more serious work, the theme of the opening being skilfully and inventively manipulated throughout, with the final movement recapitulating some of the early variations in order to bring the piece to a satisfyingly cogent close. Spielend, the German word for ‘playing’, by John McCabe is based upon the idea of the musicians ‘playing their themes against each other and playing with the musical material.’ The thirteen-minute, single-movement work, begins with exhilaratingly spirited hocketing interspersed with flourishes. It is followed by a long central section that explores two reminiscences of the Violin Sonata of Poulenc before returning to the vigour of the opening. Moeran’s Sonata for Two Violins is the most traditional of the twentieth-century works on the disk. The influence of English folksong is everywhere imprinted on the music, though his frequent diversions into more adventurous harmonic territory avoids the ‘cow-pat’ element of which many of his contemporaries were guilty. This is especially evident in the final movement in which, after 12 straightforward passacaglia statements, the music is allowed to roam more freely.
What is especially striking about the pieces on this disk is that, perhaps because the limited resources force the composers to make every note count, each has a structural tautness that facilitates rapid engagement with the listener. This is not to say the composers give away everything too quickly; far from it, this is music that challenges and rewards repeated hearings. The other extraordinary quality of these works is the way in which each composer has made limited resources sound rich and even symphonic. In this they are aided by the brilliant performances of Mackenzie and Mo. It is clear that they not only understand the subtleties of the music they are playing but they want to ‘wow’ you into loving it as much as they do. In this they totally succeed. The recording too strikes an excellent balance: it is both intimate but with sufficient acoustic spaciousness for they music to feel full.
Composition Today
THE STRAD
“Retorica brings admirable lucidity to the complex intertwining of the two instruments………this is an unusual disk, but excellently played and one that I have greatly enjoyed getting to know”
David Denton, The Strad
MUSICWEB INTERNATIONAL
Patterson’s “Allusions” (2007) is a double violin concerto (with string orchestra) commissioned from him by the Orchestra of the Swan to celebrate his 60th birthday. The allusions of the title refer to operatic characters and material relevant to each is embedded within the score. Verdi’s Falstaff is the implied hero of the first movement “False Impressions”; while Mozart’s operas provide the source material for the other two, specifically Don Giovanni in “Mindscape” and The Marriage of Figaro in “Beneath the Surface”. This work is an enjoyable romp for the soloists, and Harriet Mackenzie is here joined by her Retorica duo partner Philippa Mo. Michael Tippett is the influence who seems to hover over this music – his “Little Music” for strings came to my mind in the first movement, and some of the interplay between the soloists recalls the “Fantasia Concertante on a theme of Corelli” in the second. “Allusions” is certainly not a derivative work, however – it is beautifully written and tremendous fun.
In summary, this is certainly one of my discs of the year. Performances and recording are first-class throughout.
http://www.musicweb-international.com/classrev/2017/Aug/VCs_21C_NI6295.htm
PLANET HUGILL
Paul Patterson's Allusions for two solo violins and strings dates from 2007, it was commissioned by the Orchestra of the Swan (OOTS) to celebrate the composer's 60th birthday and OOTS premiered it conducted by David Curtis. Here Harriet Mackenzie and Philippa Mo perform the work with the English String Orchestra, conductor Kenneth Woods. Now, the work is called Allusions for a particular reason, each movement is an allusion to a particular opera, Verdi's Falstaff in the first, Mozart's Don Giovanni in the second, and The Marriage of Figaro in the third. But, I have to admit that on first hearing, listening blind, I entirely missed the connections. What stood out for me, on first and subsequent listening was the way Patterson's writing was so much in the great line of English 20th century string music.
The first movement, 'False impressions' is busy and neoclassical with the use of the soloists very much on a first amongst equals basis, creating a concerto grosso feel. The second movement, 'Mindscape', is slow and thoughtful with Patterson using a palate of rich harmonies to create music of great beauty and intensity. The final movement 'Beneath the surface' is a fast, furious and almost mad-cap.
Reviewed by Robert Hugill on Aug 18 2017
Star rating: 4.5
http://www.planethugill.com/2017/08/an-eventful-morning-in-east-london.html
GRAMOPHONE MAGAZINE
But of course you’ll hear that as soon as Harriet Mackenzie – the dedicatee of several of the pieces collected here – and her duo partner Philippa Mo launch into the first movement of Patterson’s Allusions. Soloists and orchestra alike play with bracing clarity and momentum; in fact, throughout this disc – whether in the transition into the riotous car-crash finale of Fokkens’s piece or the long sunset fade of Deborah Pritchard’s Wall of Water – the performances are skilfully paced and vividly characterised.
https://www.gramophone.co.uk/review/an-eventful-morning-in-east-london-21st-century-violin-concertos