Haydn: Baryton Trios, Volume 3—Hob. XI: Nos. 26, 50, 57, 72, 80, and 82. Valencia Baryton Project (Matthew Baker, baryton; Brett Walfish, viola; Ismar Gomes, cello). Naxos. $19.99.
Marion Bauer: Sonata for Viola and Piano; Ulysses Kay: Sonata for Viola and Piano; Margaret Bonds: Troubled Water. Jonathan Bagg, viola; Emely Phelps and Mimi Solomon, piano. New Focus Recordings. $18.99.
We can thank Haydn for what little interest remains in the long-obsolete baryton, which is essentially a bass viol with two sets of strings: gut strings played with a bow and wire strings that vibrate sympathetically with the bowed ones and can be plucked by the performer’s left thumb. Or perhaps we can thank Haydn’s employer, Prince Nikolaus of Esterházy, an aficionado and increasingly skilled player of the baryton – because it was for him that Haydn composed more than 100 baryton trios, whose complexity increased with time as the prince became more adept on his chosen instrument. The third volume in Naxos’ ongoing series of Haydn baryton trios again features a group called the Valencia Baryton Project, but two-thirds of the ensemble’s members are different: only Matthew Baker himself, leader of the project, carries over from the prior releases. No matter: the viola and cello are distinctly subsidiary contributors to these works and are well-handled by Brett Walfish and Ismar Gomes, respectively. But it is Baker’s way with the baryton – including his creation of several cadenzas for the trios heard here – that is most impressive. Although all these works were written from the mid-1760s to the early 1770s, and their exact dates are generally not known because they were presented in bound volumes indifferent to time of composition, it is clear from this installment of this series that Prince Nikolaus learned over time how to play the baryton with greater facility and more emotional involvement. This is shown in individual movements, not by Haydn employing especially wide-ranging keys for these trios, which are written in the keys in which the baryton sounds best: one in A (No. 57), two in D (Nos. 50 and 72), and two in G (Nos. 26 and 80), with No. 82 in C being an outlier where home key is concerned. Interestingly, though, No. 82 is the longest of the pieces here and the one with the most-compelling first movement, an Adagio that is not only the longest movement (all these trios except No. 26 are dominated by their first movements) but also the one that plumbs greater emotional depth than Haydn usually proffers in these works. No. 50, second-longest of the pieces here, also has an especially expressive first movement (in this case marked Andante and featuring one of Baker’s cadenzas). Haydn’s inventiveness within the constrictions imposed by the need to create works for his employer to play shows through again and again. For example, although all these works are in three movements and major keys, the usual use of a Menuetto as the third movement changes in Nos. 57 and 80, where that movement is placed second; and the typical slow-movement opening is changed in No. 26, whose Andante is heard second while still being longer than the other movements combined. Also, Haydn again and again offers effective minor-key elements in individual movements, never for an extended period – so as not to disturb the overall mood of these aristocratic pleasantries – but always for enough time to provide some pleasing differences in aural color. To the modern ear, the baryton – which was never especially popular even in its own time – has a somewhat strange sound, in part because of the difference between its gut and wire strings and in part because the use of sympathetic strings throughout produces an unusual sonic environment. Still, Baker, Walfish and Gomes make as strong a case for these little-known Haydn works as they will likely receive anywhere, and these trios provide further evidence, if any were needed, of Haydn’s sophistication not only in music-making but in what today is called “managing upward,” which means keeping the boss happy.
The viola, which Haydn played in his baryton trios, was itself a largely neglected instrument for many years, despite occasional high spots such as Berlioz’ Harold in Italy. But it has been coming into its own for a century, and not only thanks to Walton’s 1929 viola concerto. Some composers who wrote for the viola, however, are themselves on the obscure side, and Jonathan Bagg focuses on three of them on a recent New Focus Recordings CD. The sonata by Marion Bauer (1882-1955) exists in a sound world spanning consonance and dissonance and uniting the two within a framework of expressiveness: the first movement is designated to be played rubato and the second espressivo. The three movements are all virtually the same length, lending the sonata a feeling of balance that nicely complements its flowing lines, many elements of gentleness, and well-managed balance between instruments. The sonata by Ulysses Kay (1917-1995), which is in four movements but lasts only 10 minutes, is also carefully balanced and even has some of the feeling of a Baroque work through its slow-fast-slow-fast sequence and use of ornamentation. Its harmonic world is decidedly of the 20th century, however, and the focus on the viola points to Kay’s time studying with Hindemith. The 60-second Adagio third movement is in effect an introduction to the finale, the longest movement, which has a pleasantly rocking rhythm and more instrumental interplay than is heard earlier in the work. Troubled Water, the third movement of Spiritual Suite by Margaret Bonds (1913-1972), is here arranged for viola and piano from its cello-and-piano version that Bonds herself created after originally composing the piece for piano solo. Based on the spiritual Wade in the Water, the music flows well throughout, soars with feeling periodically, and never strays far from its underlying foundational melody. Bagg plays all three works with strong emotional commitment and thorough command of the viola’s emotive capabilities, especially when it comes to warmth of both sound and feeling. His two piano accompanists – Emely Phelps in the Bauer and Kay works, Mimi Solomon in the piece by Bonds – back him up skillfully and maintain good balance between strings and keyboard. Despite all the (++++) playing and interesting repertoire, though, this will be a (+++) CD from the perspective of many potential listeners, simply because it is exceptionally short for a full-priced release: just 32½ minutes. Whether its musical quality justifies its economic expectations will be a matter for each individual music lover to determine.
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