Jean C. Roche met Anthony Walker in Bulawayo, Zimbabwe, in 1969; where he taught music. This remarkable collection of recordings of southern African birds induced the sound specialist to remix Anthony’s sounds 25 years later to create four long concerts of the southern African bush. This CD takes the listener to the natural world of Matabeleland (west Zimbabwe, Manicaland (east Zimbabwe) and Botswana. Patrick Fremeaux

One of the unsung heroes of modern music, English composer Robin Walker (b. 1953) writes music which he descirbes as ‘passionate classicism,’ fusing together discipline and subjective emotion. Four exciting works have been chosen for this album, all of which display his vigorous and exciting orchestral composition style. He attributes his stylistic choices to his three decades living on the farms in northern England, developing a close relationship with the primacy of nature. Conductor Alexander Walker, of no relation to the composer, has performed all over the globe with the world’s finest symphonies. For this recording, he conducts the Novaya Rossiya Symphony Orchestra.

This second volume of George Walker's piano music joins its predecessor on Naxos 8.559916 (April 2024), together forming a unique complete piano works edition. On this new release, Steinway Artist Alexandre Dossin performs the cyclical Fourth Piano Sonata, which alternates between sections of virtuoso muscularity and lyrical repose, and the Piano Concerto, which integrates expansive Classical forms with inspiration derived from songs by Duke Ellington, something also cleverly hidden in Guido's Hand. The album closes with Walker's passionate Fifth Piano Sonata.

REVIEW:

Dossin makes much of the alternately moody and energetic first movement of the Piano Sonata No. 4. His ability to grasp the long line of Walker’s music is a really big factor in one’s enjoyment of his performances. The pianist's ability to use “space” in his interpretations makes these performances fascinating and ultimately rewarding.

— Art Music Lounge

During the 2005-6 season, Gwyneth Walker traveled across the US working with a variety of musicians as they premiered and recorded her works. During a week spent in Walla Walla, WA, she worked with the choirs at Whitman College as they rehearsed and recorded this new program of choral music, which employs evocative texts by Langston Hughes, Anne Morrow Lindbergh, and Virginia Hamilton Adair, among others. Booklet notes include the full song texts. 17 World Premiere Recordings! "Gwyneth Walker is a master composer with a fertile imagination..."

This is the first of two volumes of George Walker’s complete piano works, both featuring performances by Alexandre Dossin. The three sonatas heard here offer compelling contrasts. Sonata No. 1 (rev. 1991) is his longest and utilises folk tunes, No. 2 is darker and unified by tonal relationships, while No. 3 (rev. 1996) displays contrapuntal mastery and translucent elements. The album opens with the serene and majestic Prelude and Caprice, while both Spatials and Spektra are atonal. Bauble is heard in a world premiere recording.

REVIEW:

Judging by the compositions on this album, his piano music is communicative, colorful, expressive and, above all, characteristic. As a student of Rudolf Serkin, he was himself an outstanding pianist with an impressive career in Europe and the United States. This may have been conducive to his talent as a composer. 

Pianist Alexandre Dossin shows himself to be an accomplished interpreter, making Walker’s tonal language his own with his flexible and sensitive playing.

-- Pizzicato

This release features the works of Gywneth Walker, one of the most important composers of our modern day. Widely performed throughout the world, the music of Gwyneth Walker is beloved by performers and audiences alike for its energy, beauty, reverence, drama and humor. Dr. Walker is a graduate of Brown University and the Hartt School of Music. Walker's catalog includes over 300 commissioned works for orchestra, chamber ensembles, chorus, and solo voice.

Robin Walker began his musical life as Head Chorister at York Minster then studied under David Lumsdaine at Durham and Anthony Milner at the Royal College of Music. His early work was seriously modernist but since the 1980s he has worked on an ‘instinctual’ approach involving a relationship with Nature, a sense of Place and our position within it, even including ‘folk-style’ elements – also to some extent informed by studying the music and dance of India. Leading soloists and the award winning Manchester Sinfonia present a range of works for solo instruments and the remarkable and inspired Concerto for Violin, Recorder and Strings (‘A Prayer and a Dance of Two Spirits’); the album follows a purely orchestra set recently issued by Toccata. John Turner is one of the world’s leading recorder players with a long and distinguished career; Emma McGrath is currently concertmaster/principal violin of the Tasmanian Symphony Orchestra; Jennifer Langridge is a busy soloist and chamber musician and has been principal cello of Psappha for 24 years. Leon Bosch is an internationally renowned double bass virtuoso with over a dozen solo albums to his name, Min-Jung Kym is a Steinway Artist career, having already performed with many leading orchestras and she was pianist of choice of legendary violinist Ruggiero Ricci.

George Walker writes in a somewhat dissonant manner, but is not without expressiveness. The recording under consideration here covers several aspects of his output and is especially interesting for containing some of his recent work.

The String Quartet No. 2 starts off plaintively and quickly becomes contrapuntal. The second movement emphasizes plucked strings, but the piece really gets going in the third movement, which is more melodic than the first two and full of pizzicati. The last movement contains an interesting fugue. It should be mentioned that the Lyric for Strings, also on this disc, is a movement from Walker’s earlier Quartet No. 1 and is still his best-known piece. It is serious and quite moving.

The most interesting work here is the Poem for Soprano and Chamber Ensemble, to words by T.S. Eliot. This is very solid, with an advanced, but impressive solo part and a fascinating use of the instruments, especially the piano. The use of Sprechstimme by the main soloist and accompaniment by two other soloists is also well done.

The most recent item on the disc is the Modus for Chamber Ensemble. It is in four sections, with two guitars prominent. They definitely add to the atmosphere. A solo flute is also in evidence. Each movement builds on the previous one so that the last produces a true feeling of culmination. Unfortunately, equal praise cannot be given to the Five Fancies.

Of the five Walker songs recorded here, two definitely stand out. “Never Saw a Moon” uses programmatic elements in the accompaniment to support the vocal part and has an Emily Dickinson feeling. The Wyatt song “And Will Thou Leave Me Thus” uses different intervals to mirror the emotions of the text.

All of the ensembles heard on this recording play very competently and with great dedication to the music. Soprano Janet Stasio is especially notable. One could hardly imagine anyone else with a better understanding of the music. Patricia Green is also fine in her three songs, although James Martin is not nearly so good. As the recordings were made in several different places, recording quality is somewhat variable.

-- William Kreindler, MusicWeb International

George Walker is one of the few leading American composers of the 20th century to produce as many as five piano sonatas. Taken together, they securely chart a lifetime of stylistic change. Walker managed many other feats, a number of them connected to being the first Black person to break through various glass ceilings: the first to be accepted at the Curtis Institute of Music, the first to study with Nadia Boulanger, and the first to win the Pulitzer Prize in Music. Walker is also one of the only major composer-pianists to have recorded worthy performances of virtuoso standard repertoire including Beethoven’s “Emperor Concerto” and the Brahms second piano concerto.

REVIEW:

"This beautifully played (and beautifully recorded) set of George Walker's piano sonatas by pianist Steven Beck is especially valuable. The sonatas trace Walker's development as a composer, from a sort of post-Copland style through an approach to serialism (he only rarely adopted it wholesale, but the mark of Webernian economy is all over the second and third sonatas here), back to a broader free atonality deepened by rigor."

Walker generally resisted the use of African American vernacular material in his essentially modernist style, but he might then introduce it when it is least expected, in entirely original ways. Anyone interested in this giant of African American classical music but not knowing where to start could easily choose this release."

--AllMusicGuide.com (James Manheim)

There is a strong tradition of American piano sonatas. Off the top of my head I can think of examples by Ives, Copland, Barber, Sessions and Carter and there are, no doubt, others. To these we can add the five sonatas of George Walker, an impressive contribution to the medium, which fit neatly onto one disc.

I had not heard of George Walker until a few months ago, when he was composer of the week in the BBC Radio 3 series. I was impressed by what I heard and so was glad of this opporunity to hear these sonatas. He had a long and successful career in the USA, despite the difficulties caused by his being African-American. He always intended a life in classical music, which I note as some African-American musicians, despite being classically trained, gravitate towards jazz. There are occasional jazz references and references to spirituals and folk songs in his works, but no more than one might expect in any other American composer, Copland for example.

Despite these sonatas being composed over a period of fifty years, they have more in common than what sets any of them apart. Walker has a fondness for sinewy counterpoint and somewhat angular harmonies, rather in the Hindemith way. He also likes strong single lines and chord sequences. His idiom is clearly twentieth century but is not particularly dissonant, and he likes a good deal of rhythmic vitality.

The first two sonatas, the closest together in time, have much in common. The fondness for counterpoint and for variation form is common to them. However, the first is consistently more playful, even jaunty, while the second conveys a sense of disaster being just round the corner. The second is also the more compact, despite being in four movements rather than three, and its Scherzo is only one minute and twelve seconds long.

The third sonata has two brief movements before a longer one and here we find a new riuchness of harmonic vocabulary, even suggesting Scriabin at one point. The second movement, titled Bell, is simply a succession of slow chords. The finale features constant changes of mood and texture.

The fourth sonata, in two movements only, is more angular than the earlier works. there are many ideas, among which leaping single lines, bell-like chorales and a fugal toccata are noteworthy.

The fifth sonata is in one movement only and is a formidable work, tightly wrought and intense. Perhaps it is the finest of the five.

Steven Beck is a contemporary music specialist and offers committed performances. The recording is excellent. Walker’s music is well worth getting to know.

--MusicWeb International (Stephen Barber)