Hans Gál: Music for Viola, Vol.1

Hans Gál
Music for Viola, Volume 1

Suite Concertante for Viola and Orchestra, op.102a
Divertimento for Violin and Viola, op.90, no.3
Trio for Oboe, Violin and Viola, op.94
Sonata for Viola and Piano, op.101

Hanna Pakkala (viola), Reijo Tunkkari (violin), Takuya Takashima (oboe), Irina Zahharenkova (piano)
Ostrobothnian Chamber Orchestra, Sakari Oramo

Toccata Classics 2019
TOCC 0535

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Hans Gál: Music for Viola, Volume 1

Hans Gál • Hanna Pakkala (viola); Reijo Tunkkari (violin); Takuya Takashima (oboe); Irina Zahharenkova (piano); Ostrobothnian Chamber Orchestra; Sakari Oramo (conductor)

Label: Toccata Classics

Catalogue number: TOCC 0535

Release year: 2019

About this release

Hans Gál wrote extensively for the viola during his years in exile in Edinburgh, and this first volume in Toccata Classics’ series gathers four of his finest works for the instrument. The programme opens with the Suite concertante for viola and orchestra, a four‑movement concerto‑like work whose airy melodies and gentle humour belie its wartime origins. It is followed by the lyrical Sonata for Viola and Piano, Op. 101, the playful Divertimento for Violin and Viola, Op. 90 No. 3, and the expressive Trio for Oboe, Violin and Viola, Op. 94. Violist Hanna Pakkala is joined by members of the Ostrobothnian Chamber Orchestra and pianist Irina Zahharenkova, with Sakari Oramo conducting the orchestral contribution.

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What critics said

“The star of the show is their principal viola, Hanna Pakkala. Her formidable, prize‑winning technique produces a dark, warm basic tone that fits Gál’s singing lines perfectly. Suffice it to say that this is music‑making – from composer and players alike – of the highest order. Recommended with all possible enthusiasm.”

Gramophone’s Guy Rickards praised this disc for its sensitive performances and warmly lyrical playing. Other Finnish critics noted how Pakkala’s tone and phrasing complement Gál’s long‑spun melodies, and several publications highlighted the affectionate, witty spirit of the suite and divertimento.

Further context

Written in the 1940s and 1960s, these works show Gál continuing to favour classical forms and melodic warmth even after emigration. The Suite concertante effectively functions as a concerto and is here played by the Ostrobothnian Chamber Orchestra under Sakari Oramo. The chamber pieces reveal the composer’s delight in conversational counterpoint and charming dance rhythms.