Louise Williams - Viola
Louise Williams - Viola
Selected reviews

"Viola Sonatas: Idylls and Bachanls.
A highly enjoyable rediscovery of some neglected viola repertoire
Louise Williams captures Tertis's alfresco style
...the muted scherzo is a highlight in Williams's breathtaking performance

(Carlos Maria Solare, The Strad)

"Iddylls and Baccanals - Viola Sonatas
English works by Endellion Quartet's founder viola player.
... a highly varied programme mainly, but not exclusively, of sonatas.
(Kenneth Leighton Fantasia on the Name BACH)... for all it's mordant severity, there are moments of great expressive beauty, trouble by an inner melancholy."

(Jeremy Dibble, Gramophone)

"John McEwen(d. 1948) will be a new voice to many, heard in these appealing folk-inflected works, as will Robin Millford ( d. 1959), and his tender Four Pieces. These performers give exciting readings. ****"

(Helen Wallace, BBC)

"A highly rewarding double disc collection. John McEwen's wartime sonata will be a discovery for many: tunefully approachable with a glorious slow movement. Bax's sonata explodes with pent-up energy those by Elzizabeth Maconchy and Alan Rawsthorne make a strong impression; and in fact only Gordon Jacob's sonatina seems out of place by its slightness. Williams' rich, expansive sound is well caught, and Norris is a predictably supportive partner-in-crime."

(Classical Music Magazine)

"A starry level of professional chamber-music playing is par for the course in these islands. Even so, the quality on display here – above all, the near-perfect interplay between collective statement and individual contribution – puts these performances in the top flight. The booklet note doesn't tell us if this is the original version of the teenage Walton's Piano Quartet or its much later revision. It appears to be the former, and these players convincingly bring out the music's allusions to obvious models (Fauré and Vaughan Williams): Benjamin Frith's deft way with the Scherzo's piano part, for instance, resists borrowing too much from the incisive rhythmic bite of the later Walton. Richard Jenkinson's cello tone, too, is happily free of the hectoring manner that's so prevalent nowadays: his moments of dialogue with Louise Williams's viola are something special. Attractive and impressive as the Walton and Bridge works are, they pursue lower musical horizons than the unfinished two-movement Quartet of the Belgian composer Guillaume Lekeu, who died in 1894 at the age of 24. The sense of this music's power surging outwards from within is wonderfully conveyed here: there's no mistaking the voice of an already major composer who would have achieved great things if he had lived. Performance ***** Recording ****"

(Malcolm Hayes, BBC)

"The opening melody played superbly by Louise Williams on the viola immediately links the work to the English folk tradition"

(Inverness Courier)

"Plays most beautifully and with great sensitivity"


"The performances are a joy to the ear"


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