During the 1940's and 1950's, British comptemporary composer's such as Benjamin Britten, William Walton and Michael Tippet, brought a different and unique style to english opera through their new works.

Lennox Berkeley was also likewise involved in composing for opera during this period, being especially influenced by Britten's opera and theatre music. Britten in particular produced a prolific amount of opera works at this time, such as "Peter Grimes"(1945), "The rape of Lucretia"(1946), "Albert Herring"(1947), "Billy Budd"(1951), "Gloriana"(1953), and "The turn of the screw"(1953). In 1954, Berkeley's own opera "Nelson" (op.41), was premiered at the Sadlers Wells Theatre, London, and his one act opera, "A Dinner Engagement" was also premiered at the Aldeburgh summer festival in the same year(1954). Meanwhile, Walton's "Troilus and Cressida"(1953) and Tippett's "A Midsummer Marriage"(1954) were also premiered.

This "Concert study in E-flat" (op.48/2), was written for the pianist Colin Horsley, whilst Berkeley was immersed in his opera works and is a short piece, lasting just under three minutes. Horsley gives a rather intense and concise performance to the piece. Berkeley had also earlier written three other works for the pianist,"Piano Concerto in B-flat" (op.29) in 1947, "Scherzo" (op.32/2) in 1949, and "Concerto for Piano and double string orchestra" (op.46) in 1954. All these works were performed many times by Horsley both in the U.K. and abroad under such eminent conductors as, John Barbirolli, Evgene Goosens, Charles Groves, Constant Lambert and Berkeley himself. During the 1940's and 1950's Berkeley also wrote five film scores and a certain amount of incidental music for radio and theatre. But his primary output during this period were slightly larger- scale works such as, "Horn Trio"(op.44) in 1954,(commissioned by Colin Horsley),"Concertina for Recorder/ Flute/Violin/Cello/Harpsichord or Piano"(op.49) in 1955, the opera "Ruth"(op.50) also in 1955, "2nd Symphony"(op.51) in 1956, and "Sonatina for Guitar"(op.52) in 1957,(written for classical guitarist Julian Bream).

Allegro Vivace .

As it's title "Concert study" suggests, the piece is a study in finger articulation and rhythmic conciseness. A dynamic impact is created with brisk "quaver staccato" by the left hand against the "alberti figuration" of the right hand. The movement becomes less agitated during the middle section "meno vivo" and their is an accentuation of the notes F#,B,E in the melody, this results in a syncopated rhythmic effect coupled with a long lyrical line. Later this returns to "tempo primo" accompanied with "accelerando", this soon ascends with a semi-tone scale by both hands, reaching "fortissimo" with a pronounced ending in E-flat with an accent.

MP3→ Concert Study in E-flat, Op. 48/ 2

　

Kumiko Ida/Brian O'Hara(text) April 2006.