Review of William Lloyd Webber’s Sonatina for Viola and Piano
Today, Lauretta Bloomer and I had the pleasure of playing one of the shortest viola sonatas I know: William Lloyd Webber’s Sonatina for Viola and Piano.
This sonatina is a must for all viola students. It’s a joy to practice for both violists and pianists and would be an excellent choice for competitions. The interplay between the two instruments is delightful, making the collaborative process especially rewarding.
William Lloyd Webber, father of two of the most renowned composers in musical history, Andrew and Julian Lloyd Webber, was often asked why the sonata is so short. His answer was simple yet profound: “You should never say more than there is to say.” This philosophy is evident throughout the piece, as every note feels deliberate and meaningful.
The first movement is a beautiful and concise journey, almost like a single extended phrase. It begins with the gentle rise of a sun, capturing the serenity and warmth of a perfect day. By the end of the movement, one feels as though the day has come to a peaceful close, eyes shut, and a smile on the face. My personal favorite moment is in measure 22, with the piano’s entrance on the upbeat, seamlessly joining the viola’s line. The conclusion of this movement is particularly striking—its climax arrives just eight bars before the end, only to fade out gracefully in the final moments. It’s a masterful demonstration of how to create impact within a compact form.
The second movement, played with a mute on the viola, offers a contrasting character. It’s not somber but warmly introspective, enriched by the piano’s lush harmonies—Lauretta’s favorite feature of the piece. The dotted triplet figures in the viola, ascending delicately, evoke a fluttering heart, adding a sense of gentle excitement. This movement is predominantly upward-moving in its lines, symbolizing an uplifting and hopeful emotion. Only in the final solo line of the viola do we feel the transition, leading seamlessly into the last movement.
The third movement immediately reminded both Lauretta and me of Prokofiev, especially the character of Julia from his Romeo and Julietsuite. This innocent and playful feeling, like that of a young girl, defines the mood of the entire movement. The challenge lies in capturing this lightness at a brisk tempo. For me, the pizzicato passage presents a particular bottleneck—I might need to slightly adjust the tempo for those few bars to maintain clarity.
While Lauretta and I are still working on mastering the piece, we thoroughly enjoyed playing it today. This sonata is a charming work that perfectly balances simplicity with expressive depth, leaving both performers and audiences captivated.
January 7th 2025