Berkeley completed the four concert studies in 1940, and apart from this one, Op14/1, there were two others(Op14/2 and Op14/3), which comprised this set of works. Berkeley wrote them between 1937 and1940, and included the poem by W.H.Auden, "Lay your sleeping head my love"(Op14/2) and "Five Houseman's songs"(Op14/3).
Berkeley, in fact wrote to Benjamin Britten in January of 1940, commenting on these studies, saying...."since I finished the Seranade, I've been working on some piano studies.....they are real virtuoso pieces.....can't play a bar of them!" It must be said, Berkeley rarely gave public performances of his works and especially ones requiring a virtuoistic piano style!

This period for Berkeley, was quite a productive and a significantly creative time. His creative output at this time, included a significant and substantial "Piano Sonata", which was full of pianistic effects and technically complex, as were his other compositional works during this period, such as...."String Quartet No.2 Op/15" and his "First Symphony Op16".
The "Four concert studies" were all dedicated to Berkeley's friends and associates from his time in Paris, the 1st piece is to David Ponsonby, 2nd to Bep Geuer, 3rd to Marc Chatellier, and the 4th and last to his cousin, Claude Berkeley. The first performance of these four studies was given by Lennox's friend,the pianist Colin Horsely,and the pianist Clifford Curzon,evidently played some of work as the British Library has a copy of the score with his own detailed fingering notes and other assorted coloured pencil markings.

I. Prest ( To David Ponsonby )

This first piece is in 4/4 time, the tempo marking "Presto", moto-perpetuo-like and is an Etude for semi- tone scale. The semi-quaver figurations are always fluid and demonstrative, starting with Forte leading to the initial climax at the19th bar, which is full of sparkle. The middle section as a contrast sees the semi-quaver figurations replaced by Crotchets this time, with"singing -Legato" lines transforming the initial theme. The rhythmic vitality in this piece is absolutely crucial, between this contrasting whirlwind of rhythmic pace and the earlier semi-tone figuration, together with emphasised Alpegio in Forte, all contribute to give this study a somewhat mercurial aspect.

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II. Andante ( To Bep Geuer )

Out of all of these four studies, this second one is the most gentle and delicate, and it's in 6/8 time. The opening melody line is "singing-Legato" in Pianissimo and in the middle section, Berkeley uses his trademark intervals of 6th's on both hands. Once again, we see with his usage of these intervals of 6th's, a lyricism and a tension leading to the climax, accompanied by accents in contrary motion at the Coda (un-poco-piu-lento). The accompaniament of 6/6th's by the right hand fades out with the melody on the left hand, and his use of the Diatonic and semi-tone produces a certain air of restraint and an enigmatic quality overall to the piece.

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III. Allegro ( To Marc Chatellier )

Although this third study is in 6/8th metre, the same as the previous Andante, Berkeley gives this piece a completely different characteristic. The contrasting aspects of the light rhythmic left hand and it's accompaning accents on the 1st and 2nd beats with the right hand's semi-quaver (Moto Perpetuo) melody line in Legato, creating an interesting dynamic. The dynamic range varies quite a lot and as a result, the piece is masterfall in controlling this varying dynamic range and the contrasting inherent light touch of the study, sustains a steady "set- tempi" throughout.

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IV. Allegro ( To Claude Berkeley )

This, the fourth and final study is again in "allegro", but it's tempo is in 3/4 metre and is a study for alternate intervals of 3rd's and 7th's. The marking is for "non-legato", suggesting a slightly "dry" but subtle touch technically is required by the right hand. There is also a widespread use of intervals of 10th's on the left hand and this requires a close keyboard precision and an economy of movement. Throughout this study, the full range of the keyboard is utilised, creating a dramatic tension and effect. In the second part of the piece, along with the alternate intervals of double 3rd's and 7th's, there is also a requirement to play lyrically and in a "legato" style.
Taken overall, these Four Studies or "Etudes" present a kaleidoscope of differing sounds and are truly representative of Lennox Berkeley's unique pianistic approach.

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Kumiko Ida / Brian O'Hara -(Text) Summer -2006