David Jaeger (b. 1947) is a Canadian composer and former CBC broadcaster who, since retirement in 2013, has written specialty pieces, these for viola. He sometimes combines the sound of the viola with synthesizer effects, as he does in the last 3 pieces on this album. Sonata, Tristan and Isolde (1992) is a sonatina that celebrates two pets, a cat and dog, named after Wagner’s protagonists. Slowly, but with intensity is lyrical. Allegro is a tiny scherzo, playful. Chanson, douce et sauvage moves in two parts, the first a song, then a gusty, whimsical treatment.
Sonata for Viola and Piano (2018) presents 3 movements, the last in parts, tied as one. Introduction (calm, with flowing motion) reads like a Schumann title, with a feeling for composer Jaeger’s several art songs. Allegro bizzarro is a scherzo, with a title reminiscent of a character in Batman, attempts some intimacy of expression. The second section moves from a substitute adagio to a presto molto and coda that is excited and virtuosic.
Six Miniatures for Unaccompanied Viola (2021) is a suite of short pieces based on the poems of the Scot, David Cameron. The titles are taken from the poems. Landscape is a lament of parting, melancholy. Evening projects a sense of humor and embarrassment. Conjure You attempts to depict a sense of yearning, aware of the intimate relationship of life and death. For Winter capitalizes on the conceits of fire and ice for a passionate encounter. A Blessing utilizes soft sounds and harmonics to effect a song wistful desire and hope. Gifts sounds melancholy despite the poet’s wonder of possible renewal. Flowery ornaments in the viola mimic the sentiment. Constable and the Spirit of the Clouds (2021) combines the solo viola with synthesizer effects, presumably responding to the paintings of John Constable (1776-1837). Some may find this improvisation lyrical and engaging; others may find it only cacophonous, irritable. Sarabande (1993) is a derivative of the earlier Favour. It uses a single playback system, while the earlier piece uses two synthesizers. Despite the Spanish title for the piece, it has little of any dance impulses, but resounds, like many of these pieces, with plucked and sliding effects. Favour (1980) relies on complicated technology to create its effects, with special volume pedals to control and amplify dynamics. The composer claims this is his most popular work, but some may reply that it demands an acquired taste.