Bridge - Piano Sonata; III

Final movement from the Piano Sonata (1921-24)

According to Andrew Burn "As a pacifist of deep conviction Bridge was scarred by the misery caused by World War I. It is known that he was so distressed by the news from the battlefields that he would wander the streets by himself at night, mulling over the carnage. Furthermore his response to the war also seems to have triggered a stylistic crisis in his music, and a need to develop a more radical harmonic voice to express himself. The first major manifestation of this new style was his most important solo work for piano, the Sonata...

The Piano Sonata was composed between Easter 1921 and May 1924, and since Harold Samuel, the pianist Bridge initially had in mind to give the première, found it bewildering, its first performance was played by Myra Hess on 15 October 1925 at the Wigmore Hall. Bridge dedicated the sonata to the memory of his composer friend, Ernest Bristow Farrar, who had been killed in action in 1918 aged 33. It was the first of Bridge's works to receive a mauling by the critical fraternity: for instance The Daily Telegraph reviewer felt it was 'inclined to dourness throughout', whilst in The Morning Post it was dismissed as a 'disappointment'.

The characteristics of Bridge's late style are foreshadowed in the sonata. There is dissonance arising from bi-tonal and intensely chromatic harmony; the phrase structure differs from the smoothness of his earlier music, reflecting the more complex harmony, with balanced musical sentences replaced by phrases of varied lengths; lastly there are rapidly alternating changes of mood and intensity. What is also manifest throughout is a technical mastery in his command of the overall formal structure and in his writing for the instrument.

In the finale, after the briefest of introductions, the strife returns with a menacing march of destruction, which vividly evokes archive newsreel images of wave upon wave of soldiers going over the top of the trenches, only to be mercilessly mown down. In between its two main appearances, an expressive theme is developed and the motto theme is heard again, but now a mangled, distorted version of its former self, as the music hurtles to two vehement climaxes. At the end the music returns full circle with the reappearance of the processional amidst swaying chords like tolling bells. The motto makes its final appearance but now drained of all hope and the sonata ends in a mood of utter bleakness."

Among the vanguard of early 20th-century English composers, Frank Bridge (1879-1941) was a remarkable music figure and counted Benjamin Britten his greatest pupil. Bridge never settled on a compositional style or niche, and constantly explored different aesthetics. He began as a proponent of late German Romanticism when he studied composition with Charles Stanford at the Royal College of Music. His earliest piano music consists of typical, though substantive, salon pieces. In the mid-1910s, he dabbled in writing impressionist-tinged works redolent of Faure and Delius. However, after World War I, his musical language shifted dramatically. The war had a huge impact on his pysche and he quickly embraced hyper-chromaticism and even the Scriabinesque. Still unsatisfied, Bridge made a final stylistic excursion into atonality and the Second Viennese School, which utterly confused his conservative friends and audiences. After his death, Bridge was rarely championed except by his outstanding pupil, Britten, and remained relatively forgotten until the late 1970s.

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[akamarutv]

Why do people do nothing like this?!

[Haeronthegreat]

This is wondrous!