Chamber Concerto No. 2
(1966) — In homage to Charles Ives
Duration: 14 minutes
for flute, clarinet, violin, cello and piano
Commissioned by the Dartington Summer School of Music

World Premiere:  5 August 1966, Dartington Summer School of Music
Vesuvius Ensemble

Publisher:  Chester Music Ltd

Critical Acclaim:

One of Ives' creations was 'Rollo' — a timid little man who hated modern music. With Thea Musgrave he becomes a viola player who, on every appearance, goes off at a tangent with versions of Swanee River and other popular tunes. The other players ignore him at first, but later pay him a certain lip service by taking up some of his ideas...Although it begins seriously, the second chamber concerto turns into a high-spirited and very humorous divertissement.
— Malcolm Rayment. Glasgow Herald

Composer's Note:

The work is written in homage to Charles Ives to whom one or two ideas can easily be traced.

In the opening section two alternating ideas are the basis for the whole work: a series of five softly built up chords, and interweaving them, short (at first, very short) 'free', cadenza-like passages. In the latter, a method of writing is evolved which can give great rhythmic complexity, using relatively simple means.

The second section is a lively scherzo, interrupted by lyrical 'free' passages, and culminating in a virtuosic cadenza. One for the piano then leads to the slow third section where the alto flute and bass clarinet have important solos.

The fourth section is mainly dominated by another piano cadenza, and it is at this point that the viola enters impersonating Rollo (a character invented by Ives to represent the typical Victorian conservative). Rollo is a disruptive element, for his particular association of ideas is hardly in keeping with the general style of the piece! However the others interrupt him and introduce a Presto Misterioso (the fifth section). Again Rollo joins in. The others interrupt more vigorously, but this time Rollo's motive is not so easily forgotten. A cello cadenza leads to the sixth section where it is accompanied by tolling bell-like figures. Once more Rollo makes his comment. The others no longer interrupt, but during this last section obsessively repeat fragments from all of Rollo's themes; brief hints from the other sections are also woven into the texture making a wild climax. Then "like stepping from a crowded street into a quiet church" there is a sudden, soft, slow cadence.

Recording:

Chamber Concerto No. 2
Mark Troop, piano
Victoria Soames Samek, clarinet
David le Page, violin
Garbirl Byam-Grounds, flute
Matthew Sharp, cello
Clarinet Classics CC0038

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