Patricia Travers' Final Recording

This disc in Columbia's Modern American Music Series of the early 1950s is significant not only for the music it contains (works by Paul Bowles and Norman Dello Joio) but because it represents the final appearance on record by the superb violinist Patricia Travers.

I first wrote about her in 2016 in connection with her LP of music by Charles Ives and Roger Sessions - her only other commercial recording, which I recently remastered. In my earlier item, I noted that I did not have the Dello Joio work to offer. Since then, the album has appeared in a needle drop on Internet Archive, and I have cleaned it up for this post.

Patricia Travers

Let me quite from that first Ives-Sessions article:

When Patricia Travers died several years ago, her obituary in the New York Times melodramatically termed her the "violinist who vanished."

But Travers herself did not disappear, rather she abandoned a career that had recently transitioned from child prodigy to an uncertain future as an adult soloist.

As the Times relates, "In her early 20s, for the Columbia label, she made the first complete recording of Charles Ives’s Sonata No.2 for Violin and Piano, a modern American work requiring a mature musical intelligence. Not long afterward, she disappeared."

This is the recording that the newspaper mentions. It and the Sessions Duo for Violin and Piano were taped in April 1950, but she was in fact active for at least a few years thereafter. In June 1952 Columbia had her record another modern American work, Norman Dello Joio's Variations and Capriccio, with the composer at the piano.

Longtime reader Grover Gardner was taken with the performance of Travers in the Ives and Sessions' pieces, so I am posting this additional work at his request. It was apparently recorded shortly before she abandoned her career in music.

Norman Dello Joio

The Dello Joio is an entirely agreeable piece of music, and the performance is everything one would expect.

Paul Bowles

It shares a disc with two works by Paul Bowles. The Music for a Farce has already appeared here in a different recording on the M-G-M label. The vocal Scenes d'Anabase, written early in Bowles' career, are less charming, in part because of the strained voice of tenor William Hess. James Lyons in the American Record Guide: "1 cannot understand why, in the circumstances, we were made to suffer the hideousness of his [i.e., Bowles'] youthful transgressions." The other works are well worth your while.