Frank Bridge

[Lisztianwagner]

I've recently listened to Bridge's String Quartets No.3 and 4, quite a surprise since I didn't expect they were so tense, angular and changing, with such a prominent use of the dissonance; I don't think I've ever heard a British composer so influenced by Expressionism before. Anyway, they are captivating and mesmerizing, the style of those works reminds me of Bartók, Berg as well as Zemlinsky's late Quartets.

[Madiel]

Late Bridge is superb, especially late chamber works - those two string quartets, and piano trio no.2. I also need to get my hands on the late violin sonata.

But yes, he's one of those composers that underwent huge stylistic changes.

[Der lächelnde Schatten]

I've recently listened to Bridge's String Quartets No.3 and 4, quite a surprise since I didn't expect they were so tense, angular and changing, with such a prominent use of the dissonance; I don't think I've ever heard a British composer so influenced by Expressionism before. Anyway, they are captivating and mesmerizing, the style of those works reminds me of Bartók, Berg as well as Zemlinsky's late Quartets.

Late Bridge is superb, especially late chamber works - those two string quartets, and piano trio no.2. I also need to get my hands on the late violin sonata.

But yes, he's one of those composers that underwent huge stylistic changes.

I will definitely be exploring Bridge's late chamber works. Presto Classical is offering a sale on Naxos recordings for great prices, so I bought the Maggini Quartet's traversal of Bridge's SQs plus a recording with the two Piano Trios. Since I'm no longer buying CDs and these were at such a discounted prices, I decided it was worth it.

[Madiel]

I will definitely be exploring Bridge's late chamber works. Presto Classical is offering a sale on Naxos recordings for great prices, so I bought the Maggini Quartet's traversal of Bridge's SQs plus a recording with the two Piano Trios. Since I'm no longer buying CDs and these were at such a discounted prices, I decided it was worth it.

I'm sure you will enjoy. The Naxos recordings are very good.

[Der lächelnde Schatten]

Of the chamber music, I wanted to point out that I own CDs of three Hyperion recordings. Probably my favorite so far is this disc:

[kyjo]

Recently I witnessed an excellent live performance of Bridge's String Sextet (1906-12). I've enjoyed this work before, but it impressed me even more after hearing this live performance! The first movement, in particular, has some of the lushest, most succulent harmonies and textures ever conjured up in a chamber work. The second movement has somber, reflective outer sections underpinned by a dark, low ostinato in the cello. For contrast, the middle section is tremendously energetic with sparks flying in all directions (I was reminded of similar scherzo-like sections in his "Phantasie" piano trio and piano quartet). I find that the inspiration burns on a slightly lower flame in the third and final movement, but it still provides a finely crafted, optimistic conclusion to the work. 

[Symphonic Addict]

Recently I witnessed an excellent live performance of Bridge's String Sextet (1906-12). I've enjoyed this work before, but it impressed me even more after hearing this live performance! The first movement, in particular, has some of the lushest, most succulent harmonies and textures ever conjured up in a chamber work. The second movement has somber, reflective outer sections underpinned by a dark, low ostinato in the cello. For contrast, the middle section is tremendously energetic with sparks flying in all directions (I was reminded of similar scherzo-like sections in his "Phantasie" piano trio and piano quartet). I find that the inspiration burns on a slightly lower flame in the third and final movement, but it still provides a finely crafted, optimistic conclusion to the work. 

I hadn't heard this work in a while. It's sheer hedonistic English late-Romanticism. I enjoyed it a lot. This was the performance I listened to:

[Symphonic Addict]

Bridge is one of those composers whose music gets better with repeated listens. The last works I listened to were the Piano Quintet, Piano Trio No. 2 and the late Violin Sonata. Once I said that the greatest English/British piano quintets were those by Elgar and Bax, but I forgot about Bridge. Silly me, it is an unbelievably riveting work in that form. A piece of the finest musical poetry, absolute sophistication and filigree, emotional power and great thematic material. Each of its three movements has quite substantial ideas, but I confess that the slow movement is beyond splendid; it had me at the edge of my seat because of that intense passion combined with passages of poignant character. As far as great slow movements are concerned, this one from this quintet is an unquestionable winner for me.

The next two works are very special because I didn't get them when I first encountered them several years ago, finding them too complex and cryptic. Now the situation was completely opposite, or something like that. Whilst I still find them enigmatic, this time is for good! I mean, this is music that really needs all your attention on it and one you can't take lightly in the least. There's this arresting mix of intriguing subtleness (often reflecting a psychological nature), thorny lyricism, mystery and dissonance that permeate both works, and at the same time it's not devoid of energetic moments when needed. Even though these are purely abstract pieces, I can't help but notice a sort of story told in each work, thoroughly absorbing and labyrinthine in both cases, mostly in that unique sonata which I could include in my favorite violin sonatas from now on. I could listen to these pieces many times and still easily discover new things.

All in all, all of the works mentioned are assured masterworks and they represented some of the most rewarding listens I've had in the last weeks. The recordings in question were these ones:

[Roasted Swan]

Bridge is one of those composers whose music gets better with repeated listens. The last works I listened to were the Piano Quintet, Piano Trio No. 2 and the late Violin Sonata. Once I said that the greatest English/British piano quintets were those by Elgar and Bax, but I forgot about Bridge. Silly me, it is an unbelievably riveting work in that form. A piece of the finest musical poetry, absolute sophistication and filigree, emotional power and great thematic material. Each of its three movements has quite substantial ideas, but I confess that the slow movement is beyond splendid; it had me at the edge of my seat because of that intense passion combined with passages of poignant character. As far as great slow movements are concerned, this one from this quintet is an unquestionable winner for me.

The next two works are very special because I didn't get them when I first encountered them several years ago, finding them too complex and cryptic. Now the situation was completely opposite, or something like that. Whilst I still find them enigmatic, this time is for good! I mean, this is music that really needs all your attention on it and one you can't take lightly in the least. There's this arresting mix of intriguing subtleness (often reflecting a psychological nature), thorny lyricism, mystery and dissonance that permeate both works, and at the same time it's not devoid of energetic moments when needed. Even though these are purely abstract pieces, I can't help but notice a sort of story told in each work, thoroughly absorbing and labyrinthine in both cases, mostly in that unique sonata which I could include in my favorite violin sonatas from now on. I could listen to these pieces many times and still easily discover new things.

All in all, all of the works mentioned are assured masterworks and they represented some of the most rewarding listens I've had in the last weeks. The recordings in question were these ones:

Bridge is a fine yet still under-rated composer.  His Chamber Music is probably/consistently where his greatest work resides (much as I love his orchestral scores....)

[Symphonic Addict]

Bridge is a fine yet still under-rated composer.  His Chamber Music is probably/consistently where his greatest work resides (much as I love his orchestral scores....)

Agreed. Like Brahms, his more prominent strength was chamber music. As he aged, he became more refined, like the best wines.

[Roasted Swan]

Bridge is one of those composers whose music gets better with repeated listens. The last works I listened to were the Piano Quintet, Piano Trio No. 2 and the late Violin Sonata. Once I said that the greatest English/British piano quintets were those by Elgar and Bax, but I forgot about Bridge. Silly me, it is an unbelievably riveting work in that form. A piece of the finest musical poetry, absolute sophistication and filigree, emotional power and great thematic material. Each of its three movements has quite substantial ideas, but I confess that the slow movement is beyond splendid; it had me at the edge of my seat because of that intense passion combined with passages of poignant character. As far as great slow movements are concerned, this one from this quintet is an unquestionable winner for me.

The next two works are very special because I didn't get them when I first encountered them several years ago, finding them too complex and cryptic. Now the situation was completely opposite, or something like that. Whilst I still find them enigmatic, this time is for good! I mean, this is music that really needs all your attention on it and one you can't take lightly in the least. There's this arresting mix of intriguing subtleness (often reflecting a psychological nature), thorny lyricism, mystery and dissonance that permeate both works, and at the same time it's not devoid of energetic moments when needed. Even though these are purely abstract pieces, I can't help but notice a sort of story told in each work, thoroughly absorbing and labyrinthine in both cases, mostly in that unique sonata which I could include in my favorite violin sonatas from now on. I could listen to these pieces many times and still easily discover new things.

All in all, all of the works mentioned are assured masterworks and they represented some of the most rewarding listens I've had in the last weeks. The recordings in question were these ones:

Prompted by this post I ordered a copy of the Naxos/Trios disc - the music was all familiar but not in this version which I enjoyed very much so thankyou for the tip!  It also reminded me that Bridge, when he was choosing to compose "lighter music" as in the 3 sets of Miniatures is a genius at writing simple, direct yet highly effectively here too - he wasn't "just" a composer who needed complexity to make a valid musical point.  A rare skill (Elgar is another obvious proponent of this).

[Symphonic Addict]

Prompted by this post I ordered a copy of the Naxos/Trios disc - the music was all familiar but not in this version which I enjoyed very much so thankyou for the tip!  It also reminded me that Bridge, when he was choosing to compose "lighter music" as in the 3 sets of Miniatures is a genius at writing simple, direct yet highly effectively here too - he wasn't "just" a composer who needed complexity to make a valid musical point.  A rare skill (Elgar is another obvious proponent of this).

Absolutely, all of his many miniatures, whether for string quartet, piano trio or solo piano, encapsulate genuine personality and purpose.

[Mirror Image]

Bridge is one of those composers whose music gets better with repeated listens. The last works I listened to were the Piano Quintet, Piano Trio No. 2 and the late Violin Sonata. Once I said that the greatest English/British piano quintets were those by Elgar and Bax, but I forgot about Bridge. Silly me, it is an unbelievably riveting work in that form. A piece of the finest musical poetry, absolute sophistication and filigree, emotional power and great thematic material. Each of its three movements has quite substantial ideas, but I confess that the slow movement is beyond splendid; it had me at the edge of my seat because of that intense passion combined with passages of poignant character. As far as great slow movements are concerned, this one from this quintet is an unquestionable winner for me.

The next two works are very special because I didn't get them when I first encountered them several years ago, finding them too complex and cryptic. Now the situation was completely opposite, or something like that. Whilst I still find them enigmatic, this time is for good! I mean, this is music that really needs all your attention on it and one you can't take lightly in the least. There's this arresting mix of intriguing subtleness (often reflecting a psychological nature), thorny lyricism, mystery and dissonance that permeate both works, and at the same time it's not devoid of energetic moments when needed. Even though these are purely abstract pieces, I can't help but notice a sort of story told in each work, thoroughly absorbing and labyrinthine in both cases, mostly in that unique sonata which I could include in my favorite violin sonatas from now on. I could listen to these pieces many times and still easily discover new things.

All in all, all of the works mentioned are assured masterworks and they represented some of the most rewarding listens I've had in the last weeks. The recordings in question were these ones:

I can only nod my head along with your own. Over the past year or so,  Bridge has risen in my estimation. He's become one of my favorite British composers. All of those recordings are excellent, but my favorite of the three pictured here is The Nash Ensemble disc with the Cello Sonata et. al. on Hyperion. Stunning disc.

[Madiel]

All of the Naxos chamber recordings are very fine. Both the piano and strings albums, and the Maggini quartet in the SQs.

[kyjo]

Bridge is one of those composers whose music gets better with repeated listens. The last works I listened to were the Piano Quintet, Piano Trio No. 2 and the late Violin Sonata. Once I said that the greatest English/British piano quintets were those by Elgar and Bax, but I forgot about Bridge. Silly me, it is an unbelievably riveting work in that form. A piece of the finest musical poetry, absolute sophistication and filigree, emotional power and great thematic material. Each of its three movements has quite substantial ideas, but I confess that the slow movement is beyond splendid; it had me at the edge of my seat because of that intense passion combined with passages of poignant character. As far as great slow movements are concerned, this one from this quintet is an unquestionable winner for me.

The next two works are very special because I didn't get them when I first encountered them several years ago, finding them too complex and cryptic. Now the situation was completely opposite, or something like that. Whilst I still find them enigmatic, this time is for good! I mean, this is music that really needs all your attention on it and one you can't take lightly in the least. There's this arresting mix of intriguing subtleness (often reflecting a psychological nature), thorny lyricism, mystery and dissonance that permeate both works, and at the same time it's not devoid of energetic moments when needed. Even though these are purely abstract pieces, I can't help but notice a sort of story told in each work, thoroughly absorbing and labyrinthine in both cases, mostly in that unique sonata which I could include in my favorite violin sonatas from now on. I could listen to these pieces many times and still easily discover new things.

All in all, all of the works mentioned are assured masterworks and they represented some of the most rewarding listens I've had in the last weeks. The recordings in question were these ones:

Thanks for this illuminating post, Cesar! Bridge had such tremendous range as a composer, from the charming miniatures of his earlier years (which are, for my money, amongst the most exquisite and musically satisfying miniatures ever penned!), to the gorgeously refined late-romantic/impressionistic works of his middle period  (such as the Piano Quintet), to the complex, darkly psychological works of his maturity. Your use of the word labyrinthine to describe some of his later works is perfectly apt - I had the same thought while listening to his Piano Trio No. 2 and Phantasm, especially. I would rather listen to Bridge's (supposedly) 12-tone works any day of the week than the majority of such works by Schoenberg, Webern, and even Berg (apologies to fans of those composers). Bridge always uses these methods to create compelling atmospheres and convey an emotional message, which is something that I don't feel with Arnie and Anton, anyway. You've encouraged me to give Bridge's Violin Sonata another try - I recall being a bit put off by it a few years ago, but that's probably because I listened to a not very convincing recording.

[Symphonic Addict]

Thanks for this illuminating post, Cesar! Bridge had such tremendous range as a composer, from the charming miniatures of his earlier years (which are, for my money, amongst the most exquisite and musically satisfying miniatures ever penned!), to the gorgeously refined late-romantic/impressionistic works of his middle period  (such as the Piano Quintet), to the complex, darkly psychological works of his maturity. Your use of the word labyrinthine to describe some of his later works is perfectly apt - I had the same thought while listening to his Piano Trio No. 2 and Phantasm, especially. I would rather listen to Bridge's (supposedly) 12-tone works any day of the week than the majority of such works by Schoenberg, Webern, and even Berg (apologies to fans of those composers). Bridge always uses these methods to create compelling atmospheres and convey an emotional message, which is something that I don't feel with Arnie and Anton, anyway. You've encouraged me to give Bridge's Violin Sonata another try - I recall being a bit put off by it a few years ago, but that's probably because I listened to a not very convincing recording.

We are in the same team then (bolded text). Bridge achieves a balance between the cerebral and the emotional in his late period quite succesfully.

The recording of the late Violin Sonata to hear is the one I posted, honestly. It's just excellent in every respect. It goes without saying that his early Violin Sonata is quite compelling too, but for different reasons (its idiom is more akin to English late-Romanticism).

[Roasted Swan]

We are in the same team then (bolded text). Bridge achieves a balance between the cerebral and the emotional in his late period quite succesfully.

The recording of the late Violin Sonata to hear is the one I posted, honestly. It's just excellent in every respect. It goes without saying that his early Violin Sonata is quite compelling too, but for different reasons (its idiom is more akin to English late-Romanticism).

I've realised I don't think I've ever heard the later Violin Sonata.  The recording choices are pretty limited apart from this Hyperion collection (which involves a lot of other duplication).  I don't think Tasmin Little recorded in her sonata survey (she did include the earlier sonata), there's an old McAslan version and another by Susanne Stanzeleit - re the latter I'm not that keen on her playing on previous encounters......

[Madiel]

I really should look at that Nash Ensemble set, because I want recordings of both the Violin Sonata and the Cello Sonata.

Truth be told I'd ideally like to also acquire some of the smaller violin/piano and cello/piano works. But those are 2 key gaps in my collection at the moment.

[Mirror Image]

I really should look at that Nash Ensemble set, because I want recordings of both the Violin Sonata and the Cello Sonata.

Truth be told I'd ideally like to also acquire some of the smaller violin/piano and cello/piano works. But those are 2 key gaps in my collection at the moment.

That Nash Ensemble recording (on Hyperion) is what really opened my ears to Bridge's music. I always kind of liked his music, but only really knew the orchestral works. It wasn't until later I got into the chamber music and my opinion changed rather quickly. A wonderful recording.