Bantock: Violin Sonatas

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Dedicated to that great British violinist Albert Sammons, the first of Bantock's three violin sonatas was penned in 1928-9, and appeared in print a year before its first performance (a BBC broadcast... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: CDLX7119
Label: Dutton
Series: Epoch
Length: 63 minutes

Bantock: Violin Sonata No. 1 in G

Work length27:14

$4.50

$6.30

Lorraine McAslan

I. Allegro con moto

Track length13:02

$2.00

$2.80

II. Andannte sostenuto

Track length7:41

$1.50

$2.10

III. Alegro vivo non tanto

Track length6:31

$1.00

$1.40

Bantock: Violin Sonata No. 2 in D Major

Work length27:39

$4.50

$6.30

Lorraine McAslan

I. Lentemente non troppo - Allegro con anima

Track length10:33

$1.50

$2.10

II. A piacere, quasi recitativo - Agitato con moto

Track length9:35

$1.50

$2.10

III. Andante con moto rubato - Con brio

Track length7:31

$1.50

$2.10

Bantock: Coronach for Violin and Piano (Pro Patria Mori)

Work length5:54

$1.00

$1.40

Lorraine McAslan

Bantock: Saive Regina for Violin and Piano 'Hail Queen of Heaven'

Work length3:09

$1.00

$1.40

Lorraine McAslan

Reviews
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Reviews

2010

Dedicated to that great British violinist Albert Sammons, the first of Bantock's three violin sonatas was penned in 1928-9, and appeared in print a year before its first performance (a BBC broadcast in June 1930, with Sammons accompanied by the composer). It's a work of strong appeal, whose clean-cut, songful demeanour would seem tailor-made for its legendary dedicatee's wonderfully sweet timbre; but somewhat surprisingly, given its lyricism and thematic resourcefulness, it failed to secure a place in the repertoire. The opening movement of its D major successor followed quickly in April 1929, but it was another three years before the two remaining movements were completed. It was finally premiered on the BBC in July 1940, but subsequently sank into oblivion – a great pity in view of its bright-eyed vigour, deftness of touch and impeccable craftsmanship.
Two shorter pieces bring up the rear: originally conceived for strings, organ and harp, Coronach (1918) is a wistful elegy in memory of a friend who had perished in the trenches three years previously; the contemplative Salve Regina is based on a plainsong melody Bantock had heard in Canada during the summer of 1923.
These interpretations from Lorraine McAslan and Michael Dussek are consistently compelling and sure-footed.

Bantock: Violin Sonatas

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