About the piece:

The following information is taken fro the book “Carl Dolmetsch and the 20th century Recorder Repertoire” by Andrew Mayes (pp. 142-147)

The piece has 3 movements: Andantino, Allegretto-Quasi minuetto, Allegro ma non Troppo.

Its first performance was at Wigmore Hall, London, on March 6th, 1974, by Carl Dolmettsch on recorder accompanied by Joseph Saxby on harpsichord.

About a month before the premiere – the musicians sent a tape recording of their playing to the composer to get some feedback. he wrote: “…I presume, Joseph, you played on your small harpsichord, -what I am missing are some dynamic contrasts – piano and forte etc. – but I hope some cotrasts of this kind willbe provided by an instrument with two manuals…”

“…In the trio section the double dottings both in the harpsichord and sometimes in the recorder part could be more double…”

“..harpsichord right hand from measure 52-56 should be very legato…”

Gal wrote the program notes for the concert:

These pieces were written last year. (1973, D.B) Though they can stand on their own, independent of each other, they form, both tonally and structurally, a kind of a unity, similar to a suite or sonatina. A transparent texture prevails throughout, in accordance with the tender charcter of both instruments; and they unite in a duo of two marked individualities who put things in their own way an animated discussion and cotribute equally to the sequence of events. As to the formal layout, the opening piece is a lytical kind of rondo, the second a minuet and trio and recapitulation and the thirs movement in sonata form.

in his review in THE GUARDIAN of March 7th, 1974, Edward Greenfiels mentions the 3 Intermezzi briefly and comments that they “exploit the gentlest brand of neo-classicism, lyrical and light hearted.

After sending Hans Gal this review, Carl Dolmetsch got a response from Gal:

“…If only he know how little I have bothered all my life about any neo-nonsense!…”

 

After his death – Hanna, his wife, wrote Carl: “…It was the acquaintance and friendship with youwhic enticed Hans to take a serious interest in and write for the recorder works which otherwise would never have come into existence at all.”

 

 

This piece was published in 1974

Music:

Recordings: