Though Binge himself is not among their number, it seems that I am about to
begin a binge on several British composers - and with so much of quality
from so many, though they might once have been considered so few, why not?

This time I subject Tippett's Piano Sonata No.1 to the idle musings, which
I here set down for the scrutiny of the reader for no better reason than a
mere whim.

This is the among the earliest works which the composer still held in high
regard in his later years, for indeed many composers of more advanced years
come to bury juvenilia, not to praise it.  The sonata received its first
performance in 1937, so it predates the mature, single movement second
sonata by 25 years.

The first sonata is in four movements as follows:

1. Allegro
2. Andante molto tranquillo
3. Presto
4. Rondo giocoso con molto.

The work, which was well received, marks the beginning of the composer's
ascent from the dismal depths of obscurity, which condition talented
people bear grudgingly.  It has the greater simplicity of youth and a
more direct approach to harmony than would be the case in most of his
later compositions.  There is a high level of melodic invention and a high
incidence of percussive effect.  When commenting on the piece, Tippett
acknowledged that he learned much from the sonatas of Scarlatti and he also
cited Javanese gamelan music as an influence, even at this early stage of
his development as a composer.  I would add that this sonata would not be
at all displeasing or disappointing to anyone who admires the early sonatas
of Serge Prokofiev.  Indeed, I would venture to suggest that the latter's
Sonata No.5 (1923) would make an apt coupling on any multiple composer
recital CD.  Or should this sentiment be expressed vice versa?

The first movement presents a set of variations on an original theme.  A
variety of moods are captured as the music proceeds in the forthright and
efficient manner of a newly appointed CEO.  There is also plenty of scope
for nimble fingered display.

The second movement is a simple rondo setting of the Scottish folksong 'Ca
the yowes tae the knowes'.  It offers moments of delicate and gentle repose
before the intense third movement, a sonata form Scherzo, which presents
itself as the emotional climax of the sonata.

The third movement is a vigorous rondo, jazz influenced and again there
almost seems to be a nod towards Prokofiev (listen to the Piano Concerto
No.5).  It must be something in the air, for in his early Piano Concerto,
the slightly younger Britten also seemed keen to exhibit those spiky
rhythmic patterns, so often associated with Prokofiev.

John Ogdon recorded this sonata (and also the second sonata and the
Piano Concerto in the mid 1960s).  His performance of this sonata seems
authoritative.  His formidable technique scarcely seems challenged, so he
is able to focus on and reveal something of the art that exists within the
printed score.  He does not, however, waste any effort by attempting to
drill deeper than necessary to strike oil, so to speak.

Geoffrey S.W. Gaskell