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Home , Emanuel Hurwitz, Nicholas Braithwaite, Peter Warlock

SRCD.336 STEREO ADD Lyrita MICHAEL BALFE PETER WARLOCK 1 The Bohemian Girl: Galop * (1’26”) Capriol, Suite for full orchestra ††† (9’47”) 8 1 Basse-Danse (1’32”) SIR 9 2 Pavane (1’58”) Elgar 2 Variations on an Original Theme 10 3 Tordion (0’55”) ‘Enigma’ Op. 36: X. Dorabella ** (2’41”) Classics “Dorabella” (Enigma) 11 4 Bransles (1’58”) 3 Pomp and Circumstance 12 5 Pieds-en-l’air (2’14”) Pomp and Circumstance No. 5 March No. 5 in C Op. 39 ** (5’41”) 13 6 Mattachins (1’10”) Delius LORD BERNERS 4 A Village Romeo and Juliet: 14 The Triumph of Neptune : Hornpipe † (1’50”) Walk to the Paradise Garden The Walk to the Paradise Garden *** (10’49”) GUSTAV HOLST Vaughan Williams PERCY GRAINGER St. Paul’s Suite for strings Op. 29 No. 2 ‡ (13’28”) 5 Shepherd’s Hey † (2’11”) 15 1 Jig (3’29”) Tallis Fantasia 6 The Immovable Do † (5’04”) 16 2 Ostinato (2’00”) 17 3 Intermezzo (4’06”) Grainger SIR HAMILTON HARTY 18 4 Finale ‘The Dargason’ (3’53”) 7 An Irish Symphony: The Fair-Day †† (3’01”) Shepherd’s Hey The Immovable Do 19 Fantasia on a theme by Thomas Tallis ‡‡ (16’08”) (72’15”) Holst * conducted by Nicholas Braithwaite St. Paul’s Suite ** New Philharmonia Orchestra (leader Desmond Bradley ) conducted by Andrew Davis *** Philharmonic Orchestra conducted by Myer Fredman Warlock † London Philharmonic Orchestra conducted by Nicholas Braithwaite Capriol Suite †† New Philharmonia Orchestra conducted by Vernon Handley ††† London Symphony Orchestra (leader Irvine Arditti) conducted by Nicholas Braithwaite Harty ‡ English Chamber Orchestra (leader Emanuel Hurwitz ) conducted by ‡‡ London Philharmonic Orchestra (leader Rodney Friend ) conducted by Sir Adrian Boult The Fair-Day Berners The above individual timings will normally each include two pauses. One before the beginning of each movement or work, and one after the end. * † †† ††† ൿ 1985 ** ൿ 1975 *** ൿ 1971 ‡ ൿ 1967 ‡‡ ൿ 1970 The copyright in these sound recordings Sir Adrian Boult Imogen Holst Hornpipe is owned by Lyrita Recorded Edition, This compilation and digital remastering ൿ 2007 Lyrita Recorded Edition, England Nicholas Braithwaite Myer Fredman Balfe © 2007 Lyrita Recorded Edition, England. Made in the UK Galop LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita Andrew Davis Vernon Handley by Wyastone Estate Ltd, PO Box 87, Monmouth, NP25 3WX, UK www.lyrita.co.uk

Other works by GUSTAV HOLST available on Lyrita: A Winter Idyll, Elegy (In Memoriam William Morris), Indra, Symphonic Poem, A Song of the Night, MICHAEL BALFE (1808-1870) Invocation, Sita-Interlude Act III, The Lure-Ballet Music, Dances from The Morning of the Year. The Bohemian Girl : Galop (1843) LPO/LSO David Atherton……… ………………………..………………………………..……………… SRCD.209 Balfe was born in Dublin, played the violin in London in his teens, and first made A Fugal Overture, A Somerset Rhapsody, Beni Mora-Oriental Suite, Hammersmith-A Prelude & a reputation as a singer. Altogether he wrote 29 of which The Siege of Scherzo,Scherzo, Japanese Suite. Rochelle established him as one of the most popular of his day at 27. LPO/LSO Sir Adrian Boult…… ……………………………………………………………..…….…….. SRCD.222 The Bohemian Girl was first seen on 27 November 1843 at Drury Lane, and in less Two Songs without Words, Fugal Concerto, Ballet music from The Golden Goose, Nocturne (A than a year it had reached its hundredth performance there. It was the most Moorside Suite), Double Concerto for two violins, Lyric Movement for , Brook Green Suite, successful English of the early nineteenth century and it literally went round Capriccio. the world. At its revival by an ever sympathetic Sir at Covent W. Bennett, P. Graeme, C. Aronowitz, E. Hurwitz & K. Sillito ECO Imogen Holst………………SRCD.223 Garden in 1951 it was felt by critics at that time to be only a period piece. Walt Whitman Overture, Suite de Ballet, Suite in E flat, A Suite, A Moorside Suite LPO NicholasBraithwaite …………………………………………….………………………………….. SRCD. 210 SIR EDWARD ELGAR (1857-1934) Variations on an Original Theme ‘Enigma’ Op 36 : Other works by PETER WARLOCK available on Lyrita: X Intermezzo ‘Dorabella’ (Allegretto) (1899) Serenade for Strings LPO Nicholas Braithwaite ……………………………………………………………………………….SRCD. 318 The manuscript full score of Elgar’s variations tells us the orchestration was commenced on 5 February 1899 and ended on 19 February. It would be the key An Old Song that would finally establish Elgar’s position in British music, when the first LPO Sir Adrian Boult …………………………………………………………………………………….. SRCD.245 performance was conducted by the great German conductor Hans Richter at SIR ADRIAN BOULT conducts: London’s St James Hall on 19 June 1899. Elgar must have been supremely self- COATES The Merrymakers, Summer Days Suite, In the Country, Evening in Town, The Three Bears, confident, for two months before then printed copies of the piano reduction had March ‘Queen Elizabeth’, March ‘The Dam Busters’. GRAINGER March ‘Over the Hills and Far already been delivered to Novello’s warehouse, for enthusiasts to get to grips with Away’, DELIUS March Caprice, WALTON Hamlet, Funeral March, VAUGHAN WILLIAMS March past of at the keyboard at home. In the event he did not have it quite right and a slightly the kitchen utensils, ROSSINI/BRITTEN Soirées Musicales, March, HOLST Suite in E flat, March NPO/LPO…………………………………………………………………………………………………….SRCD.246 longer ending was soon written to make it the work we known today. However even though the work’s startlingly virtuosic orchestral writing alerted Elgar’s musical contemporaries to something new, it was the dedication ‘to my Friends Pictured Within’ which caught the public’s imagination, allied to the WARNING Copyright subsists in all Lyrita Recordings. Any unauthorised broadcasting. public performance, copying, rental or re-recording thereof in any manner whatsoever will constitute an impact of the elegiac ‘Nimrod’, a portrait of A. J. Jaeger, his editor at the music infringement of such copyright. In the licences for the use of recordings for public publishers Novello & Co., which quickly acquired iconic status as a national elegiac performance may be obtained from Phonographic Performance Ltd., 1 Upper James Street, London, W1F 9DE 2 11 the theme he later explored in the Fantasia, in The English Hymnal, and it must piece at times of mourning. After the First World war, this was all given added force have haunted him (as did a number hymn tunes throughout his life). Tallis’s tune when the Aeolian Company published Pianola rolls of the music and printed is in the Phrygian mode (play the white notes of the piano starting on E). With its Elgar’s own thumbnail portraits of the friends portrayed. slowly changing harmony, ecstatic solos, and radiant visionary quality this was an For his fourth female portrait in ‘Enigma’, immediately following ‘Nimrod’ in epoch-making score which proclaimed its ’s individuality. We come to the tenth variation, ‘Dorabella’, Elgar evokes with a stammering lightness and Tallis today as to a familiar friend, but when it was first written it all took some flutter, the merry chatter of his helper and admirer Dora Penny (later Mrs Richard time to become understood and widely accepted . Powell), who was 25 at the time. Note the strings are muted throughout. LEWIS FOREMAN ‘Dorabella’ (the name comes from Mozart’s Cosi fan Tutti), was one of the first of Elgar’s friends to hear the variations played by the composer on the piano, when I they were still being written. Elgar drew attention to the inner sustained phrases Notes © 1967, 1971, 1975, 1985, 2007 Lyrita Recorded Edition, England at first on the viola later on the flute. ‘How do you like that - hey?’ demanded Elgar as he played her own variation, Elgar’s wife adding ‘Isn’t it beautiful, dear Dora? I Cover: istockphoto do hope you like it.’ Balfe Recording location and date: January 1979, Kingsway Hall, London. Pomp and Circumstance March No. 5 (1930) Elgar liked to think of himself as a composer with the popular touch. Once when Elgar : Enigma Variations under pressure he retorted that he wrote the folk songs here, and certainly in the Recording location and date: January 1974, Walthamstow Assembly Hall. Pomp and Circumstance marches he produced a popular artform, of which the Delius trio tune of the first (as ‘Land of Hope and Glory’) is known by the entire English- Recording location and date: January 1970, Walthamstow Assembly Hall. speaking world. There are five marches. The first four are the product of Edwardian England being written in 1901, 1904 and 1907. Much later, after the Grainger : Shepherd’s Hey, Berners Recording location and date: August 1978, Kingsway Hall, London. death of his wife and with most of his composing career behind him, Sir Percy Hull, the organist of Hereford Cathedral, tried to persuade Elgar to write a fifth Harty march. Wulston Atkins tells us how one day in 1930 Elgar was out with his dogs Recording location and date: April 1976, Kingsway Hall, London when an idea occurred to him which he jotted down on the back of his map. This Warlock proved to be the opening notes of the fifth —and last—of the marches. It was Recording location and date: September 1978, Watford Town Hall. dedicated to Hull and first given in Queen’s Hall on 30 September 1930, Sir Henry Wood conducting. In C major, it follows the approach of its predecessors, Vaughan Williams consisting of a march with contrasting trio, the latter a typical Elgarian tune that Recording location and date: January 196 8, Walthamstow Assembly Hall. made commentators at the time anticipate it might supplant the first and fourth Digital Remastering Engineer: Simon Gibson in the public’s affection — though, of course this was not to happen. For us today that is to the good for we come to it quite fresh. And it is a good tune. 10 3 movement of his Second Suite for Military Band, written in 1911. With great skill, FREDERICK DELIUS (1862-1934) he combines the rapid 6/8 of ‘The Dargason’ with the slower 3/4 of ‘Greensleeves’, A Village Romeo and Juliet : The Walk to the Paradise Garden (1905) achieving the perfect marriage of contrasting folk-tunes. Delius wrote six operas, and of them A Village Romeo and Juliet is usually (IMOGEN HOLST) regarded as the composer’s masterpiece in this form. Based on a novel by Gottfried Keller, it was written between 1901 and 1902 and first produced, in RALPH VAUGHAN WILLIAMS (1872-1958) Berlin, in 1907. The story is of two farmer friends whose lands are separated by a Fantasia on a Theme by Thomas Tallis, narrow, overgrown, strip which really belongs to a vagabond known as the Dark for double string orchestra and string quartet (1910) Fiddler but because of his illegitimacy he cannot claim it. The son of one farmer Ralph Vaughan Williams evolved a highly personal sound derived in varying and the daughter of the other are child playmates. Later, childish affection matures degrees from impressionism, folk song modality, Tudor church music and a very to love, but in the meantime the farmers have quarrelled bitterly, each resenting personal response to the English language. He had served a long and hard-fought the other’s attempts to encroach upon the land which neither can buy. In a struggle apprenticeship before he succeeded in developing a technique which would allow the girl’s father is injured by her lover, and becomes a permanent asylum inmate. him to articulate his strikingly personal musical vision, and allowed him to find Marriage is impossible and although the Dark Fiddler, who is a compassionate himself as a composer. By the time he was fifty VW had only written comparatively rather than sinister figure, and his companions invite the lovers to join them in few of the works by which we remember him, though including the first three their vaga bondage they realise that such a life is not for them, and they board a hay symphonies. Vaughan Williams was active to the end, and so many of his most barge, pull out the plug in the bottom and drift down the river to their doom. innovative works came late in a long career. However, the three works in which his The Walk to the Paradise Garden, which was added some years after the mature style finally came together, all appeared within a few months of each other original score had been completed but before the first performance, is an in 1909-10: On Wenlock Edge, A Sea Symphony and the Fantasia on a Theme of orchestral interlude based on themes heard earlier and is played between Scenes Thomas Tallis. Of these, perhaps the most remarkable imaginative leap came in 5 and 6. It is the climax of the opera, but it is also a beautifully tender and powerful the Tallis Fantasia, of which at the time of its first performance one commentator tone poem in its own right. When heard it over the air after the B.B.C. remarked ‘one is never quite sure whether one is listening to something very old or announcement of the death of Delius he was moved to write “I saw the world of very new’. Vaughan Williams breaks his orchestra into three components: the main music as he entered it, and the world of music, richer now by far through his legacy body of strings; a smaller group and a solo string quartet, the latter possibly of love liness, as he had left it. And I, being young and of that hard, cold and suggested to RVW by Elgar in his then recent Introduction and Allegro. This is materialistic post-war generation of those who knew little or nothing of the world certainly music to make its effect in a big space, and was conceived for Gloucester of which he had sung, but only of a world of sham and substitutes and devastations, Cathedral, where it was first heard in the Summer of 1910. felt a sense of finality, distinct from personal loss, as if with this man the very Spirit Keen to explore the Tudor heritage of church music, then little known, one of of Romance had died.” the sources Vaughan Williams turned to was Archbishop Parker’s Whole Psalter (W A CHISLETT) Translated into English Metre dating from the 1560s, where the celebrated composer Thomas Tallis had contributed nine modal tunes. Vaughan Williams used

4 9 LORD BERNERS (1883-1950) PERCY GRAINGER (1882-1961) The Triumph of Neptune : Hornpipe (1926) Shepherd’s Hey (1908-13) & The Immovable Do (1933-42) Gerald Hugh Tyrwhitt-Wilson succeeded his uncle as Lord Berners in 1918. He was Percy Grainger was an Australian by birth and by commitment, though as a a diplomat by profession, and an eccentric and dilettante by inclination, much matter of expediency he became a naturalised citizen of the United States in 1919. given to practical jokes. A painter as well as a composer, he was an associate of By virtue of his use of folksong and his friendships with many British composers Stravinsky and Casella, and part of the circle that surrounded the Sitwells (which including Delius, Balfour Gardiner, and the other members of the ‘Frankfurt also included Lambert and Walton); he produced five ballets of which this is the Group’ (which comprised Grainger, Gardiner, Cyril Scott, Norman O’Neill and first. In The Triumph of Neptune Sacherverell Sitwell took designs from Pollock’s ) he fills an honoured place on the periphery of the British tradition. toy theatre ‘Penny Plain, Tuppence Coloured’, and devised a harlequinade which Grainger made his living as a celebrated concert pianist, though as he grew older one critic hailed as ‘the beginning of a British ballet’. First given at the Lyceum he increasingly regarded this as a means to an end. His principal artistic allegiance Theatre on 3 December 1926, it was only Diaghilev’s second commission to a was rather as a composer, who from the first experimented with ideas which even British composer for an original dance score for his Ballets Russes. today we might regard as innovatory. Grainger’s popularity as a composer has tended to revolve round a number GUSTAV HOLST (1874-1934) of short extrovert scores, of which Shepherd’s Hey is a typical example. Worked on St. Paul’s Suite for strings Op. 29 No. 2 (1913) by Grainger between 1908 and 1913, it is a morris dance tune, and in his setting My father began teaching at St. Paul’s Girls’ School in 1905, and he was still Grainger takes four variants of the tune that had been collected by Cecil Sharp and director of music there at the time of his death in 1934. He wrote this Suite for the sets them in his own inimitable style. Grainger was the proponent of ‘elastic school orchestra in 1913. People have often asked me how he could have had the scoring’, and here we hear the version for ‘full band’. The tune is, in fact a variant courage to give school-girls such difficult music to play, and, as an ex-member of of the familiar folk-song ‘The Keel Row’. Although Grainger has marked the score his orchestra, I must confess that we were not always in tune, and the quick ‘This setting is not suitable to dance Morris dances to’ the word ‘Hey’ in the title movements sometimes had to be taken slower than in this recording. However, the in fact denotes a particular movement in morris dancing. The score is ‘lovingly and music always made sense, and it is characteristic of my father that the pieces he reverently dedicated to the memory of Edvard Grieg’. This dedication also appears wrote for amateurs should sound equally at home when played by learners in a on other British Folk-Music settings by Grainger. He met Grieg in May 1906 in school-room or by professionals in a concert hall. The first movement of the suite London and during the last year of Grieg’s life they enjoyed a brief but close is an exuberant Jig. In the graceful Ostinato the muted strings thread their way friendship. with ease through their alternating rhythms, while the same four quavers curl up While many of his compositions are based on folksong—of which he was and down over and over again. In the Intermezzo, the beautiful tune for solo violin himself a zealous collector—many of his musical ideas are original, including the borrows its passionate augmented seconds from the oriental suite, Beni Mora, theme of the ebullient short piece The Immovable Do . Grainger got the idea from which my father had written in 1910. The contrasting vivace tune in this movement a leaking harmonium which sounded a high C throughout whatever he played on is one that he used later in the ballet music of The Perfect Fool. The Finale, founded it. He first had the idea in 1933, and gradually developed the piece over the next six on the traditional tune of ‘The Dargason’, is a transcription for strings of the last years, and it was published in 1942. The title is a punning reference to the two

8 5 forms of tonic sol-fa nomenclature. Do is usually the keynote, but it can also refer melodic material are taken from the book. This little heard version for full just to the note C. As a high C sounds throughout this must be the longest held orchestra was scored in March 1928. pedal note in all music. BASSE-DANSE is a movement in triple time at a moderate tempo (“full of honour and modesty”). Arbeau gives the melody as Jouyssance vous donneray. SIR HAMILTON HARTY (1879-1941) The PAVANE, a popular stately dance in duple time, appears in the book as a An Irish Symphony, 2nd Movement : The Fair-Day (1904) four-part setting of the song Belle que tiens ma vie. As Capriol remarked: “This Herbert Hamilton Harty has tended to be remembered as a cele brated conductor Pavane dance is too grave and solemn to dance alone in a room with a young girl”. who also composed. Record collectors have long cherished his recordings of In rescoring Capriol the strings for the most part are little altered from the 1926 Berlioz, Elgar and his pioneering first recording of the Walton First Symphony. version, but in this movement they are dispensed with altogether, most effectively. They also remember him as a talented pianist, not only accompanying songs but A TORDION is a dance in triple time similar to the Galliard: “there is no also playing the piano part in Lambert’s The Rio Grande. His principal triumphs difference between them except that the tordion is danced close to the ground in a as a conductor were undoubtedly with the Hallé Orchestr a, which he conducted lighter and more animated tempo, while the gaillarde is danced with high steps to from 1920 to 1933. Composed in 1904, Harty’s An Irish Symphony is very much an a slower and weightier measure”. Ulsterman’s symphony (Harty was born at Hillsborough, Co. Down) in its use of BRANSLES or Branles seem to have been the most popular dances of the folksong and creation of atmosphere. The second movement is this scherzo he time. The melodies were in duple time, but unlike the Pavane and Basse-Danse the called ‘The Fair-Day’, evoking scenes that must have been very familiar to the dancers moved sideways rather than forwards. The custom was for several branles young Harty. We first hear a country fiddler tuning-up, and then the reel ‘The to be danced successively starting at a moderate tempo for the older people, faster Blackberry Blossom’. This quickly leads on to the more familiar tune ‘The Girl I for the young married couples, fastest of all for the youngest. Warlock, using airs Left Behind Me’. Both are presented vigorously and the ending is abrupt. from several branles, condenses the three tempi into one movement, successive increases in speed leading to a stunning climax. PETER WARLOCK (1894-1930) PIEDS-EN-L’AIR is based on yet another branle, the Branle de Poitou, but Capriol, Suite for full orchestra (1926/1928) this, surprisingly, is a much slower dance in triple time. Only the first two bars of ‘Capriol’ is Warlock’s most famous instrumental work. It resulted from a the melody are from Orchésographie but the dance steps (Pied en l’air droit: Pied collaboration in 1925 with Cyril Beaumont, the eminent balletomane, on an en l’air gauche etc) gave Warlock his title. From these two bars grow one of the English edition of Arbeau’s Orchésographie, a 16th century treatise on dancing. composer’s most beautiful creations. Listeners familiar with the string version will Warlock’s contributions were a preface on the music of the period plus numerous be delighted by the lovely counter melody in the second half of the movement. musical examples throughout the book, reproduced from his exquisite calligraphy. MATTACHINS, or Bouffons, was a sword dance. For half a minute or so the The melodies and titles in the book stayed in his mind until one week-end in composer treats this fairly formally. After that the swords get the better of it and October 1926 when the suite was written for piano duet. The familiar string the clashes and clangs are pure Warlock. Considering the work’s popularity over orchestral version dates from the same month. Capriol was the name of Arbeau’s half a century, it is incredible to think that it was rejected by several publishers pupil in Orchésographie, and the titles of the movements and almost all the before being bought for 25 guineas. Within a year or two it had paid for itself many times over. (FRED TOMLINSON) 6 7 LYRITA CLASSICS. ELGAR/DELIUS/GRAINGER LPO /LSO /ECO LYRITA WARLOCK /HOLST /VAUGHAN WILLIAMS BOULT /HANDLEY /HOLST SRCD.336 D D 15”) A 36 (3’29”) (2’00”) (4’06”) (1’32”) (1’58”) (0’55”) (1’58”) (1’10”) (2’14”) (3’53”) (9’47”) (1’50”) end. 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LYRITA CLASSICS. ELGAR/DELIUS/GRAINGER LPO LSO ECO LYRITA / / SRCD.336 WARLOCK /HOLST /VAUGHAN WILLIAMS BOULT /HANDLEY /HOLST