Lenny Cavallaro – “Raindrops” Fantasia for Violin and Piano, Opus 5

Short modern violin and piano pieces are rare, but these can take their place amongst examples from Elgar and the like. Unpretentious and good at making friends Two Idylls attempts to capture the sense of delight in the contemplation of pastoral landscapes, and the perceived serenity of the countryside. For the city dweller passing through such vistas speak of more relaxed times and freedom from constant pressures. There is, however, an underlying sense of not belonging, and in these pieces the tranquil settings are shot through with tensions that will not go away. No specific times or places are depicted, but the composers own recall of a period spent living in the country and his feeling of loss as he looks back to those years, perhaps account for the mixed moods of these pieces.

This Sonata for Violin and Piano reflects the essence of John Simpson's music. It belongs to one of the most fulfilled periods of the composers life when he was experiencing both the excitement of travelling the world as a music examiner as well as the intense happiness of being a grandparent. As such this is possibly the composers most radiant work, with a slow movement that he would most like to be remember by.

The opening movement of this work, the most extended of the four, contrasts a wistful almost elegiac section with one that is fast and dance-like. There is an extended slow passage at the end that seems to be searching for resolutions not provided until later. The second movement, a scherzo, is passionate rather than playful: it is the most joyous of the four, indicative perhaps of the elation that it is possible to feel when finding the means of being able to express ideas in a way that the composer hardly thought possible. The slow third movement, a lyrical cantilena with the violin always to the fore, is the emotional core of the work, and leads without a break into the quick dance-like finale. After modulating through a variety of keys this reaches a climax in an ecstatic waltz-time transformation of the opening of the work in the home key of D major. However, rather than ending loudly, the music drifts ever more quietly into the distance without ever slowing down, like a procession fading into memory.