BRITISH MUSIC SOCIETY

nAPRIL 2019 ews

CYRIL SCOTT COMPANION Book review

IN PRAISE OF C.B. ROOTHAM Deserving of better recognition

SHOPPING WITH GRACE Meeting Grace Williams, a personal memoir by Andrew Youdell Agenda Chairman’s welcome British Music Society’s news and events

March was the bringer of good news regarding our latest recording released on Naxos as Madeleine Mitchell’s CD of ‘Brilliance and beauty’: line- Grace Williams’s chamber music shot to number two position in the Official Specialised Classical Charts and up at English Music Festival number seven in the Official Classical Artist Albums Chart top 50 in mid- The 13th English Music Festival Oxfordshire BBC Concert Orchestra March. This CD was launched on March 24th – 27th May 2019 and Martin Yates 1 in the Performing Space, College www.englishmusicfestival.org.uk Building at City University. There is further good news to he English Music Festival celebrates report on our forthcoming 40th the brilliance, innovation and beauty Anniversary Concert at St. John’s Smith Tof our rich musical heritage with a strong focus on the early to mid-twentieth Square, London, at 7pm on Saturday century. June 22nd with over half the tickets Launching the festival at Dorchester already sold. If you haven’t already Abbey, Oxfordshire this year will be the BBC booked your seat for this important Concert Orchestra under conductor Martin event, it would be a good idea to do so Yates to perform a programme of World Premières by Lord Berners and Stanford, and remember to use the promotion Robin Milford’s Symphony and Vaughan code BMS40 for your discount. More Williams’s The Blue Bird, and works by Delius details are included in this Printed and Arnold. News. The Society is grateful for The Chapel Choir of Worcester College, receiving funding towards the cost of Oxford, and the Godwine Choir under Hilary this event from the William Alwyn Trust Davan Wetton perform choral repertoire by Stanford, Ireland, Parry, Vaughan Williams, and The British Music Society Dyson, Finzi, Holst and Howells. Charitable Trust, and I look forward to Chamber recitals featuring works of William Alwyn, Delius, Bliss and Donald seeing our members at the AGM that day transformative beauty include song cycles by Tovey, and the Piatti Quartet perform Elgar, immediately after the rehearsal finishes Herbert Howells, , Britten, Bridge and Walton. The Chamber at 5pm in St. John’s concert hall. We and Ian Venables, performed by Indian tenor, Ensemble of London perform characteristic Anando Mukerjee and , Pavel string works by Bainton, Delius, Alwyn, expect the AGM to finish at 5.30pm so Timofeyevsky. Violinist, Rupert Marshall- Ireland, Finzi and Vaughan Williams. there will be plenty of time to dine in the Luck and pianist, Michael Korstick bring a Concerts take place at Dorchester Abbey, restaurant downstairs afterwards. fresh new perspective to Elgar’s Violin Radley College and Sutton Courtenay. A Read on for information Sonata, which is closer to the composer’s convenient mini-bus transfer operates concerning our Journal editor Dominic intentions. between venues and Didcot Parkway station Daula’s essay competition. The deadline Piano-Duet, Lynn Arnold and Charles and accommodation is available in and Matthews, join forces for , around the villages. approaches and it would be great if members more connected with the academic world helped to spread the Dunhill’s The Sailor’s Hornpipe (solo piano) Festival has been busy planning this year’s word to young researchers and writers and Bantock’s Desolation (voice & piano) British Art Song Competition (BASC 2019) so we can enjoy the fruits of their talent for use as set pieces in her Young Talent and has invited to give in our future Journals. Competition taking place in London this the masterclass this December. A single East-West relations between the August. Competitors from China and the award of £800 will be given to the best BMS and Amy Yuan in China strengthen UK will perform and the Society will award singer and piano team with the compulsory further. To address Amy’s difficulties in a Composer Profile book and a £30 voucher song element of the competition soon to be accessing scores of British music in to spend on British music at Chimes to the announced. China, the Society is now looking to best performances of these three works. - Dr. Wendy Hiscocks produce its own edition of Stanford’s Nigel Foster of the London Song Arietta Variations (violin and piano),

-2- McCabe’s lost recital

n 1985 the internationally renowned successor, Warner Music, met with no reply. released featuring McCabe, who died in pianist and composer John McCabe Amazingly, a cassette copy was found 2015, as pianist. The album will be scheduled Irecorded an album of contemporary among the composer's papers and has been for release by Métier Records in spring 2019 piano music by Australian, American and remastered to produce a wonderfully fine (catalog number MSV 28585). British composers. Made in the EMI Studio album with superb sound. Works by Peter All Divine Art recordings together with in Sydney on a commission from Earle Page Sculthorpe, George Rochberg, Wendy track listings, reviews and artist profiles are College, the recording was put aside when Hiscocks, Barney Childs, Don Banks, available at the company’s online store: the studio closed and was believed lost. Graeme Koehne and David Maslanka. www.divineartrecords.com Attempts to trace the master through EMI’s Probably the last 'new' recording to be In praise of C.B. Rootham

hilip L. Scowcroft has contacted BMS to negotiate than Elgar’s. At least one recent highlight the music of Cyril Bradley C.B. Rootham observer (Simon Heffer of The Daily PRootham. Scarcely a household name in Telegraph) considers it to be superior to British music, yet one who Philip Scowcroft Elgar’s. advocates deserves better recognition. Rootham also composed two Born in Bristol in 1875, most of Cyril symphonies. The Second was completed, at Rootham’s life is associated with Cambridge his suggestion, by his Cambridge pupil Patrick where he lived until his death in 1938. Hadley. Rootham also composed for orchestra Organist, teacher, conductor and composer, a Procession for the Chancellor (1920), a he was educated at St. John’s College, rhapsody, Pan which had a performance at the Cambridge and subsequently at the RCM with Queen’s Hall in the Henry Wood Promenade Charles Villiers Stanford. He was Organist of Concerts in 1911, a Miniature Suite with a solo Christ Church, Hampstead and St. Asaph piano part and St. John’s Suite for small Cathedral, North Wales and then became orchestra. Conductor of the Cambridge University Music Rootham’s chamber and instrumental Society. pieces include two String Quartets, a Violin Philip Scowcroft tells us more about his Sonata, a Piano Trio, a Rhapsody on Lazaras music: 'Rotham’s oeuvre parallels that of for double string quartet, Suite for flute and Stanford’s. The former composed an opera piano, a viola solo entitled From the Lake The Two Sisters, produced in Cambridge in Country - a most attractive piece. Intriguingly, 1922. His substantial choral works (he also he also wrote a Septet for the possibly unique composed miniatures for unaccompanied combination of viola, wind quintet (flute, oboe, choir and solo songs) included Andromeda, clarinet, horn and bassoon) and harp.' commenced before Elgar’s setting which is Psalm 103, For the Fallen, Ode on the Morning Part III of his The Spirit of England, in 1915. of Christ’s Nativity - which earned him a Elgar, who often persuaded himself that no- British Music Society Committee Carnegie Award - and the shorter Brown one wanted his music, offered to abandon his Wendy Hiscocks (Chairman), John Gibbons Earth. When I was a Cambridge project setting, but was persuaded by Binyon (Vice Chairman), Stephen Trowell undergraduate in the 1950s, the CUMS and other to continue. This hardly endeared (Treasurer), Dominic Daula (Journal recorded Brown Earth: a nice gesture to its him to Rootham, whose setting was suitable Editor), Advisory roles: Karen Fletcher one-time conductor. for less sophisticated choirs and is easier to Rootham’s For the Fallen was Printed News designed by Revolution Arts

-3- AGENDA New Grace Williams’s chamber music album

The latest BMS NAXOS recording of Grace study with Egon Wellesz, praising her Williams’s chamber music launched at City ‘considerable gifts as a composer’. On her University on 1 March is the culmination of a return to London she took two part time major project directed by Madeleine teaching positions and in the early 1930s Mitchell, Violin and Director of the London wrote two substantial chamber works, both Chamber Ensemble. The CD features all featuring trumpet, her favourite instrument. world premiere recordings of Grace The album is completed by three delightful Williams’s chamber music spanning 40 short works, ending with a short piece years: written as part of a collection of teaching * Violin Sonata (1930, rev 1938) pieces for the Welsh Guild of Music, at the * Sextet for Oboe, Trumpet, Violin, Viola, same as the composer was writing her most Cello, Piano (1931) substantial work, the Missa Cambrensis * Suite for Nine Instruments (1934) (1968-71), performed by the BBC in 2016. * Romanza for Oboe and Clarinet (1940s) For these recordings Madeleine Mitchell * Sarabande for Piano Left Hand (1958) has assembled a distinguished group of * Rondo for Dancing for Two Violins and performance of the work at the first musicians including David Owen Optional Cello (1970) International Women’s Work in Music Norris and Konstantin Lapshin, oboist John Grace Williams (1906-77), from Barry in conference in Bangor, led her to look into Anderson, trumpeter Bruce Nockles, cellist South Wales, is widely considered to be what other chamber music there is by Grace Joseph Spooner, violists Roger Chase and Wales’s foremost female composer, writing Williams. The other two major chamber Sarah-Jane Bradley, violinist Gordon in several genres, yet her chamber music has works and smaller pieces were unpublished MacKay, clarinettist Andrew Sparling, flautist been somewhat neglected. Madeleine and sourced by Mitchell from manuscripts at Kathryn Thomas and double bassist Lynda Mitchell discovered the manuscript of the the National Library of Wales. Houghton. The recording was made possible Violin Sonata whilst researching music for Grace Williams studied at the Royal by additional funding from the RVW and violin at Ty Cerdd, the Welsh Music College of Music 1926-30 with Ambache Trusts and with support in kind for Information Centre in Cardiff. Subsequently and Vaughan Williams, who helped her the recordings from Ty Cerdd and City giving an enthusiastically received public obtain a travelling scholarship to Vienna to University.

Welcome to our 150 LPs of British new members music for sale

A warm welcome to the following new To any BMS member in the London area members to the Society: or beyond. Collection of approximately Concert listings Douglas M. Bennett (Oxford) 150 LPs of British Music – mainly 20th Oliver Davies (Shropshire) century. All labels: Decca EMI, Lyrita etc. available online Mikhail Filippov (Ilford) New or in first class condition. Buyer Dr. Hannah French (Rugby) collects. Serious offers to Andrew Visit the BMS website for the latest Derek Prescott (Merseyside) Youdell [email protected] concert listings featuring British Music Polly Richards (London) Tel: 020 8883 3375 at www.britishmusicsociety.com/events

BMS 40th anniversary concert programme unveiled

BMS Vice-Chairman John Gibbons has Doreen Carwithen Overture Bishop Rock Tickets: announced the final programme for the Michael Hurd Dance Diversions Full price £15; Society’s Anniversary concert with the Ealing Hamilton Harty Ode to a Nightingale Seniors £13. Symphony Orchestra at St. John’s Smith (with the sensational Australian soprano Discounted tickets at £12 for BMS members Square, London on Saturday June 22, 2019. Helena Dix) with promotion code BMS40 Please note that this concert starts early at William Alwyn Nemesis (Odd Man Out) 7pm. An Irish Melody www.sjss.org.uk Symphony No. 1 Box Office 020 7222 1061

-4- Inbox Send your letters to the Chairman to [email protected] or write to 178 Alexandra Road, Muswell Hill, London, N10 2ES So, who is the BMS for?

Chairman’s reply to Richard Carder (January All the best and keep going! Coffee E-News): - DR WENDY HISCOCKS Sorry to hear you are disappointed in the ——— nature of the reviews appearing in the Printed Dear Chairman, I agree, by and large, concert by News and E-News but I'm glad to hear other with your response to Mr Aston’s letter. Your responses have met with your approval. suggested proportion of 25 to 30% seems not The content of E-News is now too great in unreasonable (although mathematics was the Thames volume to include all items in the Printed never my strong point!). But isn’t it a matter of News so a selection is made with the help of common sense to strike the right balance. But MS Chairman and pianist Wendy Revolution Arts and perhaps you have a valid why stop at Elgar, Vaughan Williams and Hiscocks is teaming up with point that my revue should have been Britten? Should we add Holst, Delius, Tippett, Bfellow Australians Samantha reproduced rather than the first revue by Walton, Bliss and Sullivan, several of whom Crawford (soprano) and Coral Lancaster Thomas. Having said that, I have the feeling have dedicated societies? Sullivan I mention, (cello) on 10 May for a one-hour recital neither would completely satisfy you - that, not because the BMS make much of him (they preceded by coffee in one of London’s however, is the nature of reviews and what don’t) because I belong to the Sir Arthur most prestigious (and private) iconic every creative artist (including myself and Sullivan Society which has always banged the buildings - the National Liberal Club dare I say even Mozart) has to accept and drum for Sullivan’s “other” music even though near Whitehall. endure. Reviews of music by living composers there are one (or more) Gilbert & Sullivan Music by Rebecca Clarke and the will always take second place and cannot be societies. However, the S.A.S.S. does not by much loved will guaranteed as this is, as you know, not the any means ignore G.&S.. That is an example, be performed by this talented trio focus of the Society. as I say, of common sense and it has worked alongside music by Australian I think you have already responded in the pretty well for the past thirty years and more. composers in a concert presented by Biteback section but you are welcome to do so Are these observations of any help? Celebrating Australian Music (CAM). again... - PHILIP L. SCOWCROFT Tickets are £10 including refreshments. The programme is as follows:

Rebecca Clarke Epilogue Call for entries to essay competition Rebecca Clarke Passacaglia on an Old English Tune tudent researchers are encouraged to 2. In their essay, the author should proffer Horace Keats The Orange Tree enter the British Music Society 40th a refined analysis, synthesis and critical Brennan Keats Moons as Big as Anniversary Essay Competition which evaluation of the relevant literature; and Mountains (UK premiere) S will celebrate the Society as it enters its fifth should bring to light their own insights whilst Wendy Hiscocks Songline for cello & decade. Furthermore, the competition aims to maintaining a clear research focus. piano (London premiere) stimulate an increase in musicological 3. The essay is to be written in English, Ralph Vaughan Williams Six Studies in engagement within the field of British Music and the word count should be between 3000 English Folk Song and cultivate a growth in journal to 5000 words. Don Banks Five North Country Folk Songs contributions from researchers around the 4. Entrants should be registered students world. within a recognised institution of higher * Tickets for CAM Members are free The author of the winning essay will have education in any part of the world. Proof of * All guests must register in advance for their submission published in a future edition such registration or studentship is to be this event of British Music, and will be awarded a cash submitted as a supplement to the essay in * Only those on the door list will be prize of £100. order to form a valid entry. admitted Guidelines for entrants: The essay should be submitted as a Word * Coffee and tea will be served at 11am 1. The essay should explore a topic that Document (.doc or .docx) to prior to the recital relates to British music at any point during the [email protected] by 23.59 BST * The recital will last approximately one nineteenth and twentieth centuries. Should on 30 June 2019. hour and with no interval one’s paper focus on the work of a more The adjudicators’ collective decision must Book your tickets online at contemporary composer, the composer in be considered as final. www.celebratingaustralianmusic.com question should either be deceased, or if alive, SEND YOUR SUBMISSION TO... /event/coffee-concert-by-the-thames born during or before 1929. [email protected] or by phoning 020-8883 3375.

-5- FEATURE Shopping with Grace A Personal Memoir by Andrew Youdell

At this time, the head of music was Mr poser of fame and merit, I was soon dis - Williams, who, besides teaching at the abused. Grace showed no particular inter - school, was a noted local choral conductor. est in discussing the finer points of theory, My father always thanked Mr Williams for harmony or orchestration with me - it was instilling in him a love and enthusiasm for after all, a social call, so perhaps I had no music which lasted all his life - and, of right to expect anything more - but she did course, was eventually passed on to me. In show some interest in what I was studying due course, my father was also well aware at college, who I was working with, and of the growing fame of Mr Williams' perked up when I said I was writing an daughter, Grace, but did not know her well end-of-year dissertation on a favourite personally - but it was this link that in later subject - the film music composers of the life brought us all together. 30s and 40s - a golden period in British I studied music in my college days, films, with Bliss, Ireland, Alwyn, Green - and it was then that Dad thought it would wood, Walton and RVW all producing out - be good idea for me to meet Grace standing scores for the many fine films Williams, who had returned to live in her made at that time. "I have written for the old home in Barry. I don't know how he films" she confessed to me, without, sadly n the late 1960s I had the opportunity managed this - whether he wrote to her, or mentioning any of the titles, though I must to meet Grace Williams at her home in phoned, but one day in my holidays - we have asked her. In those days, you could IBarry, a pleasant town in the Vale of always went to Barry three times a year in not produce instant films on your com - Glamorgan, now mainly a dormitory for the holidays to visit my grandmother - I puter at the push of a button, and it was Cardiff workers, but a hundred years ago found myself knocking on her door in the many years before I was able to locate and one of the major ports - established ini - quiet, steep road which was all too familiar hear some of her very few film scores for tially to ease the strain of berthing some of to me as I had driven, or walked, along this semi-documentaries such as "David" (1951), the large number of merchant vessels nor - way many times on my way through "Blue Scar" (1949) and my own favourite, "A mally docked at Cardiff, just a few miles Romilly Park down to the beach - the "peb - Letter For Wales" (1960) in which she uses along the coast. ble beach" as we called that side of the a traditional Welsh folk tune as the main My father was born in Barry in 1916, "Bull's Nose" on the way towards Porthk - theme. This is a nostalgic look - through and attended Barry Grammar School, erry Park. We were greeted very warmly the eyes of Welshman Donald Houston - of which was, at the time, a highly respected and were eventually presented with the the Wales of his boyhood and always brings seat of learning, with the well-known ed - proverbial cups of tea. Grace knew of my tears to my eyes as the end credits roll over ucationalist, Major Edgar Jones as its family - my grandparents had, after all, Grace Williams' beautiful music. (I think headmaster. lived there since 1911 and soon Dad and she you have to be of Welsh extraction for this Major Jones was keen to promote an were swapping happy memories of his to happen). The score emphasizes her love interest in the Arts and in other subjects days at the grammar school under her fa - of the trumpet as there is plenty of passage not normally given a priority on the school ther's influence. By the way, I never did work for that instrument! Incidentally, curriculum. Many were the "Barry boys" learn what Mr Williams' first name was: my "Blue Scar" was the first British film score who went on to good careers as a result of grandmother, who was of a colloquial bent, to be written by a woman composer - at his influence - my father went on to always referred to him as "Old Man the insistence of the producer, William Cardiff University, and thence to Oxford. Williams" under which guise she must have MacQuitty, who wanted a Welsh composer Incidentally, a school-friend of my father's passed him in the street when shopping in for a Welsh subject - a sign of her impor - at the same time was Glyn Daniel, later a Park Crescent for many, many years. tance already by the late 1940s. (Grace distinguished professor of archaeology If I thought that this was going to end would have hated being called a "woman" and author of many books on the subject. up as a valued music lesson from a com - composer, of course, although this termi -

-6- FEATURE

‘Grace Mary Williams: Composer' oil on board, 59 x 79 cm (2001-02) Ceri Thomas

nology seems to have increased in impor - her own work in hand or her own compo - Christopher's in Barry!). There was a sale tance these days: she would have consid - sitions. I always remember her very strong on, and of course, I just had to buy one ered herself, of course, a composer, plain Welsh accent - more pronounced than one record. Here was one with a lovely picture and simple!). often heard in Barry - more the kind of ac - of the beach at Barry looking down from the We visited Grace on a few more occa - cent you might hear in the Welsh mining cliffs, towards Porthkerry Park, where I had sions - usually in the summer holidays valleys . walked dozens of times. It was an HMV LP whenever it was convenient to call in. On After 1973, there were to be no more of Grace Williams' music conducted by Sir one occasion, I even bumped into her in the holiday trips to Wales as my grandmother Charles Groves (ASD 3006, familiar to many street and helped her with the shopping! died that year, though I have always taken of you, I expect!). Upon my arrival home ("Hello again Andrew! Are you still at col - every opportunity to return to the area and late that night, I proudly produced this lege? When are you goin' home then?). visit friends made since those times. record knowing that it would bring back These were, as I have said, really informal There is one sad corollary to the story happy memories to my father - whose ap - social occasions ; after all these years, I wish I have just related ; one of those very odd pearance suddenly changed. "You bought I could tell you more about her. And, with quirks of life that have taken on a special that record today?" he asked. "How incred - hindsight, I wish I could have asked all the meaning and have remained in the mem - ible : I have to tell you that we heard on the right questions or simply remember more ory. My work in the 1970s took me to various news this evening that Grace Williams has - it is certainly nearly 50 years since these parts of the country on business, and one just died." meetings took place, and at the time they day in Hull, I found myself with a couple of Since then, I have made an effort to seemed of little more importance than the hours to spare before my train back to the hear more of her music and to learn more many other social calls we made on families Midlands where I had planned to stay with about her life. Her music has grown on me. my father had known all his life. (It was al - my parents overnight before returning to Now, on the occasion of the release of a new ways : "Hello again Andrew! Are you still at London the next day. I chanced upon the fa - CD of her chamber music, it is with especial college? When are you goin' home then?"). mous Gough and Davy Music Store (the pleasure that I have evoked some personal What did emerge though was that she was equivalent of Barkers in Leeds, Rushworth memories of a wonderful Welsh lady who a very retiring person, self-effacing to a and Draper in Liverpool, Forsyths in poured tea for me all those years ago. point and reluctant to talk casually about Manchester - and, one might add here, - ANDREW YOUDELL

-7- BOOK REVIEWS

does however give us two dates 1987 and 1997 for the death of Scott’s partner Mar - jorie, I think it is the latter. One of the most refreshing aspects of all the writings in the book is the honesty of all the contributors; while all are clearly enthusiasts, none are blinkered, and all write as they find. Peter Atkinson for ex - ample tells us at the onset of his career Scott was ranked with Debussy and Ravel and even outdid Richard Strauss in modernity. Later Lewis Foreman docu - ments the scathing reviews Scott received in the British press and from the notori - ous BBC Readers Panel, who seldom rec - ommended any of his works for broadcast. The analyses of the music are exem - plary. While there are excellent musical extracts, the text does not require one to be able to read music to comprehend the writer’s meaning although some under - standing of basic music theory would help. The music is given a historical context and beautifully written and articulate prose to describe the work. Much of the efforts to rehabilitate Scott’s reputation came from record com - panies Lyrita, Chandos and Dutton, and this is documented in some unpretentious oneer of British piano music, and his writing from Martin Yates and Peter Dick - The Cyril Scott music was admired by composers as di - inson. Yates enthusiasm at restoring pre - verse as Debussy, Strauss, Stravinsky and viously unheard scores leaps from the Companion , the last a lifelong friend. A page. His completions of the early con - true polymath, Scott was also the author Unity in Diversity certos for piano and for cello are well of forty-one books, on subjects ranging Edited by Lewis Foeman, Desmond Scott, worth exploring. from autobiography and music, to alter - Leslie DeAth It is difficult in the early 21^st century native medicine, humour, occultism, Boydell and Brewer to fully grasp the influence of the occult theosophy and Christianity. As if this was £45 hardback, 722 pages on early modernism. The Theosophists, not enough, he also wrote poems and ISBN-10: 1783272864 ISBN-13: 978- the Golden Dawn etc. were all influential plays and painted watercolours. 1783272860 in modern art and Kurt Leland in his This Companion, expertly edited by Preface - Desmond Scott chapter on Scott’s Occult Writings man - Lewis Foreman, Leslie De’Ath and the Foreword - Martyn Brabbins ages to make a good case for the interrela - composer’s son Desmond Scott explores tionship between Scott’s music and beliefs the life and work of this exceptionally cre - without them seeming too strange. ative man who continued working into oydell and Brewer’s catalogue in - Desmond Scott’s in his chapters on some ripe old age, long after his work was cludes an impressive array of texts of his father’s writings do not attempt to deemed unfashionable. As well as a com - on British music to which this sub - cover up that some of his ideas are and B prehensive analysis and appraisal of all stantial and beautifully presented volume were out of step with current thought. the available music there is a complete is a very welcome addition. Cyril Scott The book The Way of the Childish, Scott catalogue of his musical works, along with (1879-1970) was an English composer, pi - tells his readers was dictated to him from a discography. Altogether, the volume anist, writer and mystic. A member of the another plane, while in The Real Toler - gives a broad and candid picture of Scott's Frankfurt School whose members in - ance, Scott’s thoughts on relationships entire output in all its forms and genres. cluded Percy Grainger and Balfour Gar - and marriage still seem well outside the His son provides much of the bio - diner he is, in spite of attempts to accepted norms. graphical and non-musical comment, rehabilitate his reputation in the years The final third of the book is taken up even if one of his chapters is entitled since his death, mainly remembered for a with catalogues of works, performances ‘Memories of the Man I Barely Knew’. He number of piano miniatures such as Lotus and recordings and should be studied by may not have known him very well, but he Land and Danse Negre. But he was a pro - anyone wishing to undertake such a task. clearly understood him and the personal lific composer who wrote over 400 works. The Companion has clearly been a angle he brings to his writing is both heart As a composer-performer he became a pi - labour of love for all involved and it has -warming and informative. The book

-8- BOOK REVIEWS

Feast of St Cecilia

paid off. It is elegantly laid out and illus - written specifically to celebrate the feast with exemplary scholarship and takes the trated with illuminating musical examples of the patroness of music St Cecilia (22 reader down a number of intriguing musi - and photographic images. There is none November). cological byways. One such is The Castle of the impenetrable academic writing that The author takes a great deal of trou - Tavern on Fleet Street which was a popu - so often mars books of this type and it is ble to place the music in context: There lar location for Cecilian music making. eminently readable. As each chapter is are some familiar figures such as Henry The author quotes the seventeenth cen - largely self-contained one can dip in and and Daniel Purcell and John Blow; others tury writer Roger North: out at leisure, and it is worth taking one’s much less so: William Turner or Gottfried ‘The taverner finding the sweet of time. Finger. The subject of the texts is dealt vending wine and taking money, hired Scott’s supernatural advisers told him with exhaustively as is the development of masters to play a pecuniary consort of it to that ’the first thing to do is to get the work musical culture in London and its influ - which for the reputation of the musick, written; the rest if needs be can wait – ence on provincial centres particularly numbers of people of good fashion and sometimes even as long as till after the Oxford. quality repaired.‘ composer’s death’; we should be grateful White’s Introduction is a very useful White’s presentation of a vast amount for their advice, long after his death there way in to what is a masterly survey of Ce - of information is admirable and is en - is much to be admired. ciliana. The book is divided into 3 sec - hanced by a wide range of plates, tables - PAUL RW JACKSON tions: (1) the Cecilian feasts between 1683 and (very helpful) musical examples. In and 1700; (2) Cecilian feasts outside the addition, there is tightly reasoned analysis metropolis and (3) Cecilian music in the of both music and text. For example, Music for St Cecilia’s first half of the eighteenth century. Nicholas Brady’s words for the 1692 Ode Day The year 1683 provides the focus for are discussed interestingly and in some the development of the Cecilian ode, for it detail. There is also a similar discussion From Purcell to Handel was in that year that two groups of play - of the impact of the music designed for by Bryan White ers, English court musicians (professional) Cecilian church services on the secular The Boydell Press and the Musical Society of London (ama - material. ISBN 978-1-78327-347-8 teur) combined to perform what they All in all, this book is a production of termed odes or songs in honour of St Ce - high quality that will enhance the book - n this enterprising, carefully worked cilia. It must be said, however and as the shelves of any interested reader. out volume, Bryan White, Senior Lec - author makes clear, the saint’s connexion - ALISTAIR MACDONALD turer at the University of Leeds, give with music was somewhat tenuous to say I the least. - - - - - us a fascinating account of British music seen through the prism of compositions Generally, the book treats its subject

-9- CD REVIEWS

Mountains

John McCabe John McCabe piano A collection of piano pieces by various composers Métier msv 28585

OUNTAINS is an exciting musical rebirth. It salvages seven truly Mpioneering and atmospheric piano solos first recorded on tape in the mid-eighties. It highlights the consider - able prowess of British pianist and com - poser, the late. multi-talented, John McCabe (1939-2015), and has now been completely remastered. The welcome recording of this crys - tal-clear 33-year-old keyboard collection of seven 20th century works, crisply illus - trates the varied depth of talent enjoyed by Liverpudlian-born McCabe, who was celebrated as an accomplished pianist as well as a notable composer. This solo piano release is a remark - Eric able collection of several finely thought Coates pieces of pure artwork that were once feared to be lost forever. McCabe’s formidable keyboard artic - Twilight Rain (Graeme Koehne) Prezzo beautifully crafted works often appeared ulation bristles in intoxicating perfor - Dramatico (Don Banks) Piano Song (David in concert next to music that we would mances, boasting some dexterous touches Maslanka) and the somewhat enigmatic, now describe as ‘serious’. As times in finely-timed finger and pedal work. Heaven to clear when day did close (Bar - changed his music in all genres was cate - The mainstay of an exciting collec - ney Childs). gorised, especially after 1945, as ‘light tion is George Rochberg’s five-movement Music aficionados everywhere will be music’ suitable for such stations as the Carnival and Music which opens with an eternally grateful for the sterling work of BBC’s Light Programme….., though this arresting Fanfares and March. The evoca - McCabe’s widow, Monica, who rescued process of designation was always a dis - tive piece ends with an infective Toccata- this distinctive collection from oblivion appointment to him, and often a source of Rag. and thankfully preserves a veritable mile - protest in that he argued that no less skill Wendy Hiscocks’ complex Toccata, is stone in solo piano music we can now all was demanded in writing in the sphere of an arresting three-minute cameo. It is a enjoy. lighter genres”. short but potent piece, with an inexorable - CHRIS BYE Coates’ idiom in the field of song was and bold momentum which relentlessly not far from that of Sullivan, German, the drives toward a stunning and abrupt lighter Elgar, and Quilter, etc, but the ar - Stravinskian-like conclusion. Toccata is a - - - - - biters of good taste mysteriously decided vibrant and erudite composition by a that Coates was on the other side of the highly skilled musician. acceptable. It could be because some of The title track, Mountains, demon - Eric Coates his chosen texts verge on the sentimental, strates the flair of Tasmanian composer, indeed maudlin, side (even though this Peter Sculthorpe. It peaks with a was something to do with the post-WW1 28 Songs hangover) but there is absolutely no doubt grandiose theme and gets the majestic in - Kathryn Rudge mezzo soprano terpretation it deserves. as to his craftsmanship and ability to de - Christopher Glynn piano vise appropriate melodic shapes to carry McCabe’s considerable virtuosic SommCD 0192 piano skills certainly meet the challenge the text. The lyric lines have a clear sense presented by this impressive collection, of inevitability, and frequently, for in - his superb disc is going to challenge stance, do not come to a full stop at the which plunders some dramatic composi - a few preconceptions and just tions. end of the verse, but have a sort of codetta Tmaybe confirm a few others. As repeating the final phrase or phrases. Engaging mood-swings of this ‘lost Jeremy Dibble (no less) in his booklet notes I first realised that there was some - and found’ Australian recording are com - says “..in the early 1920s Coates’ lighter but plemented by short, vivid pieces including thing unexpected here when, way back, I

-10- CD REVIEWS noticed a memorable song in the Potter play ‘The Singing Detective’. This, on in - Private Passions vestigation, turned out to be a version of ‘Bird Songs at Eventide’, one of Coates’ Arnold Bax & Harriet Cohen best-loved creations. Then I came across Mark Bebbington piano ‘I heard you singing’ at a book sale, bought SOMMCD0193 it, and immediately put it into the reper - toire of a partnership I have with a so - he lifelong passion between com - prano soloist. This is a fine song indeed, poser Sir Arnold Bax (1885-1953) and and intriguingly the text is by ‘Royden This lover, pianist Harriet Cohen Barrie’, the non-de-plume of Rodney Ben - (1895-1967), is the main artistic inspiration nett, the father of Richard Rodney Ben - behind this remarkable collection of key - nett. board recitals. Further investigation reveals that A revealing combination of potent many of these songs require some deter - heart-on-sleeve piano solos includes two mination in tracking down as they are out premieres and some rarely heard Baxian of print, though a few can be located on His repertoire on this CD includes music gems. We are also treated to some bare second-hand sites. Clearly there is an op - by the English composers Paul Spicer, bones Bax, in a fascinating rendition of portunity, I would suggest, for some en - Paul Edwards, John Weaver, Iain Quinn, the Sonata in E flat, which the composer terprising company to assemble a Percy Whitlock and Andrew Carter, and ultimately orchestrated to create the first collected edition. I particularly regret not also the American, Leo Sowerby and the and third movements of his First Sym - being able to find, at the moment at least, French, Jehan Alain, and Marcel Dupré, all phony, an acknowledged masterpiece. ‘Always as I close my eyes’ which, soft- of these in their individual ways giants in This release, dramatically despatched hearted though I may be, I find deeply their field. by the pianist Mark Bebbington, is a beau - moving. Tastes will vary but I will pick out tifully played, revealing charming scores The performances, by the way, are Percy Whitlock, for his inimitably fluent warmly committed and immaculately pre - style evidenced in his three ‘Reflections’, sented. pieces which should be in the music cup - - GEOFFREY ATKINSON board of any self-respecting church or - ganist. Then there is the versatile and - - - - - prolific Andrew Carter whose Passacaglia, with its pleasingly insistent theme, con - cludes the disc in exciting style. Finally, Deo Gracias there has to be a mention of a somewhat obscure gem in Paul Edwards' ‘Contem - 20th century organ music from Llandaff plation’; I understand that this has occa - Stephen Moore organ sioned much comment and that this has Priory PRCD 1199 resulted in its being republished from a composite volume as a piece in its own he world of organ music and organ - right. This is understandable and wel - ists may be thought somewhat re - come for it is absolutely lovely. Tmote from the general experience I have two small quibbles. The dy - that at times really touch the heart strings. of those I have to call ‘classical music namic range of this recording is substan - lovers’ (for lack of any other convenient tial, with the effect that if you adjust the At the centre of this musical emo - terminology) but this new CD has certain volume to comfortably loud (by which I tional journey is Bax’s moving Passacaglia, features which may draw interest from the mean uncomfortably loud for some) then which he evocatively named, ‘In the Night.’ wider musical community. some of the softest passages are almost This is a gently-paced piece which Harriet Firstly, the organ is a superb newly- inaudible, and in Alain’s well-known ‘Le described at the time as “wonderful”. “I constructed instrument with 80 stops and jardin suspendu’ an oddness of balance think I know its very soul. It means such a one designed to conform with the princi - highlights long held notes which obscure lot to me”, she added. ples of the English Romantic style (rather other important detail. Bebbington exploits these typically than the trendy mock Baroque specifica - While it could hardly be more ‘French’ strident and melodious scores with a real tions). Indeed, it is the first major new (ie for present readers, not ‘English’) Mar - aplomb, capturing that convincing Bax cathedral instrument in the UK since the cel Dupré’s ‘Cortège et Litanie’ should vigour we all love. It abounds with those installation of the organ in the new greatly appeal to anyone with an open ear. arresting arpeggios, fortissimo phrases Coventry Cathedral in 1962. - GEOFFREY ATKINSON and thick textures so familiar in all Bax. Secondly, Stephen Moore is a young- ‘Four Pieces’, including enticing ish organist with a superb technique and - - - - - movements marked Romanza and Idyll impeccable taste in his choice of music. expose a melancholy side to the young

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Bax. This is indeed emotive music coming straight from the heart ‘Russian Impressions’, a rare piece of composition by Harriet herself, is a light four-part piece which adds to the overall dreamy atmosphere. Bax’s Towering Legends concludes a release that leaves an indelible mark in pure erudite terms, as well as throwing new light on the fascinating story of Bax’s eventful personal life. Bax aficionados will be pleased to know that the second movement of the Piano Sonata in B flat is available as a bonus digital track through the Somm website. - CHRIS BYE

- - - - - William Sterndale Bennett

Chamber Music Villiers String Quartet William Sterndale Bennett Jeremy Young piano Leon Bosch double bass NAXOS 8.571379 movement thoroughly compelling. The second movement Scherzo and the Finale - - - - - ore than fifty years ago, I at - are equally captivating. tended a concert at which ‘May The best work on the CD however is Vive La Difference MDew’, a song by Sterndale Ben - the Chamber Trio Op. 26 in which violinist nett was performed. It delighted me then James Dickenson and cellist Nick English & French music and I have never forgotten it so I was in - Stringfellow from the Quartet are equally Anthony Robb flute trigued to receive the current CD contain - involved in driving the music forward as Jeremy Polmear oboe ing three of the composer’s chamber Jeremy Young. In the Finale, Allegro fer - Michael Bell piano works to review. My warmest thanks are mato, Young’s unfettered outpouring of Oboe Classics CC2035 due to Naxos and to the generous support piano virtuosity grabbed my attention at of the British Music Society’s Charitable once, then the energy and forcefulness of his enjoyable disc pairs English and Trust (Michael Hurd Bequest) for making the strings came through. Indeed, this is a French music for flute, oboe and this possible. performance in which each of the three piano of the early to mid-20th cen - Sterndale Bennett composed six movements has a special transparency T tury. Recorded in the sympathetically piano concertos the third of which was and clarity. warm acoustic of All Saints East Finchley conducted by his good friend The final work is a World Première these seldom heard works are interesting Mendelssohn with the composer, a virtu - Recording of Sterndale Bennett’s String partners; for both countries a substantial oso pianist, playing piano. The influence Quartet in G Major WoO 17. Warmly trio is supported by smaller works. of Mendelssohn, positive and free flowing, melodic and gently mannered, it is a dis - The music of Jean-Michel Damase, is clearly discernable in the F# Minor Sex - tillation rather than an imitation of Haydn who died only six years ago aged 85, is sel - tet featuring the Villiers String Quartet and its English accent comes through dom played in this country. Inhabiting a along with pianist Jeremy Young and Leon clearly in the Adagio. In many ways, in sound world akin to Poulenc, with biting Bosch on double bass. In many ways, as structure, melody and harmonies it has a harmonies alongside exuberant circus in - the sleeve of the CD suggests, the concer - certain simplicity but along with a gentle spired music his trio proves a lively tante interplay between the piano and elegance, this only makes the music all the opener. It is full of memorable flights of strings makes this work almost a piano more digestible for the listener. Most im - fancy and technical challenges which the concerto in miniature. An interweaving of pressive is the spirited finale which surely players rise to with seeming ease. The sonata form and techniques of variation, looks forward to the stirring music of the Ibert and Boulanger likewise have that bit - in which many English composers are Sextet. tersweet approach to harmony that is so brilliantly adept, makes the opening - ALAN COOPER much part of this style of French music.

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The Boulanger, a very lively spring morn - its suggestion of country dance jollity. much like the Parry we see sitting happily ing, gives even more proof of a major tal - The opening of the ‘Sonata in d aboard ‘The Wanderer’. ent silenced too soon. minor’ is certainly dramatically Brahm - - ALAN COOPER Gordon Jacob’s music is still not as sian. Its clear sonata form is impressive, well-known as it should be, his reputation followed by an often impassioned second - - - - - as a teacher far out shadowing his own ex - movement and a sparkling energetic fi - pertly crafted scores. This Trio from 1958 nale. is a perfect foil to the Damase. Neo-clas - At the head of the second disc, an - Grace Williams sical in style it is superbly written for the other Première Recording, ‘Freund - instruments with the third and fourth schaftlieder’ strikes a splendid balance Chamber Music movements showing more than a nod to between contrasts in rhythms and tempi Madeleine Mitchell violin/director the playfulness and cheek of his pupil and a certain kindred spirit between the London Chamber Ensemble . thematic contents of the different move - David Owen Norris piano A name new to me was Edward Naylor ments. Naxos 8571380 who is represented by his one movement The final two movements of another Trio from 1924. Naylor was primarily an première, the ‘Partita in d minor’ are race Williams along with Elizabeth organist associated with Cambridge Uni - wonderfully individualistic, the ‘Bourées Maconchy were the leading British versity and this slight pastoral movement Fantastiques’ and ‘Passepied en Rondo’ Gfemale composers of the genera - is elegantly written with rich melody and demonstrating Parry’s understanding of tion born in the first decade of the 20th water inspired piano writing. earlier European musical styles. The con - century; hopelessly out-promoted by their The Delius and the Goossens seem to cluding work on the second disc, ‘Fan - male peers Walton, Tippett, Rawsthorne, provide the cross-channel links to the tasie-Sonate in einem Satz für Violine und Alwyn , Rubbra etc., etc. they are only works on the disc. The Delius with its Clavier’ has several discernable move - now being seriously explored. Here on a Gallic harmonic and melodic twists and recording sponsored by the BMS the Goossens in its cheek and brilliance, Madeleine Mitchell has rendered invalu - ‘Harlequinade’ providing the perfect con - able service in restoring some gems of trast to the Damase. chamber music by Williams. - PAUL RW JACKSON The Violin Sonata is the earliest work on the disc and the outer movements - - - - - clearly show the influence of Bartok, Stravinsky and Vaughan Williams, though not Shostakovich who is mentioned in the The Wanderer notes and who I am sure was not particu - larly known in 1930. In the long slow cen - C Hubert H Parry tral movement however, we get to see Rupert Marshall-Luck violin Williams’ early successful assimilation of Duncan Honeybourne piano Welsh folk song into a highly personal and EMR CD 050-52 emotive style, performed soulfully by Miss Mitchell. hy ‘The Wanderer’? Well, one ments within, marked by changes in In the larger works, the Septet and reason is that this was the name tempo and attack but these are cleverly Suite one can hear an almost symphonic Wof Parry’s yacht. As an enthusi - woven together to make the longest single approach to the form and Williams’ bril - astic amateur sailor, it was his pride and item on the three-disc set at just over liant ear for instrumental colour. Both joy. The booklet accompanying this gen - fourteen minutes. works feature her favourite instrument, erous three-disc set has a photograph of On the third disc, ‘Two Early Pieces – the trumpet - played sensitively here by Parry sitting confidently aboard ship, Written at Weston for Ernest (Parry’s Bruce Nockles - and where a lesser com - complete with captain’s cap and pipe! younger half-brother) to play on his violin’ poser would have allowed it to dominate, Parry was very much an outdoors man though simple, are attractive and satisfy - here, in both works, it lends its extraordi - and much of his music reflects that. ing. nary expressive tone, both muted and un- The three discs contain fifty-one The final work, ‘Sonata in D Major’ is muted, to the service of the overall mainly very short items grouped as four - mature, well-crafted, confident and out - ensemble. The slow movement of the teen works in all, eight of them World Pre - going. The shorter works are spread Suite gives a foretaste of her 1955 Penillion mière Recordings. across the three discs; ‘Twelve Short for orchestra, the timbre of the trumpet This includes the very first piece, Pieces’ and ‘Miniatures’ are refreshing, in - mirroring the tragic beauty of the Welsh ‘Suite No.2 in F’. The programme note vigorating and often full of sunshine. landscape. In these two works, full of mentions Parry’s stylistic affinity with Marshall-Luck’s bright clear violin playing tricky rhythms and balances the ensemble Brahms. This is true, but in this Suite, an and Honeybourne’s ebullient piano ac - work under Miss Mitchell’s direction is English pastoral flavour is heard strongly, companiments make so many of these precise and tidy and spaciously recorded. especially in the second movement, Inter - short pieces bright and extrovert, very The shorter pieces are all expertly mezzo, or the following Capriccioso with scored and played, but for some strange

-13- CD REVIEWS reason the Sarabande for piano left hand alone is recorded in a very thin acoustic James MacMillan out of kilter with the rest of the CD. That said it is the only let down on a disc full of wondrous discoveries. - PAUL RW JACKSON

- - - - - James MacMillan String Quartets

The Royal String Quartet CDA 68196

he Royal String Quartet have a good record of bringing recordings of in - Tteresting music to life. This issue is no exception, as they showcase the cham - ber music of Scottish composer James MacMillan. Known mainly for his works on sa - cred subjects, MacMillan has also written many other compositions without any re - ligious link, such as symphonies, concer - tos, and as here, chamber music. Bringing these 3 quartets together on one CD, makes for a very interesting listening ex - String Quartet No 3 Rachel Nicholls soprano perience, as we see how the composer’s Yet another decade later, 2007, the Hyperion CDA68231/2 voice changes over the period of around composer brings us his 3rd String Quartet. 30 years, with him leaving a decade be - It is set in 3 movements, this time with no ong overdue recognition for the tween each. subtitle; this works well, as we approach considerable creative talent of the piece for what it is - pure music for LBritish master, Sir Michael Tippett String Quartet No 1 ‘Visions of a Novem - the medium. This music makes a fine end - (1905-1998), is a shortfall that concert pro - ber Spring’ ing to the whole album, and so you feel as moters and music enthusiasts should feel Written in 1988, although revised though you’ve been on a new musical guilty of. The latest brave new series of slightly at a later date, this is an early out - journey to James MacMillan’s fertile cre - recordings from Martyn Brabbins high - ing for MacMillan’s voice to appear in an ative mind. lights the composer’s potent symphonic intimate chamber work. Building from The Royal String Quartet are excellent output and should at least go some way to nothing, the music develops into a power - interpreters throughout, adding their fo - mitigate what is rapidly becoming a na - ful, strong, and attention-grabbing piece. cussed musical insight into the com - tional disgrace. poser’s personal world as it develops and What a shame that some cynical crit - String Quartet No 2 ‘Why is this night dif - deepens. ics have largely ignored the excellent ferent?’ The booklet provides a lot more de - quality of the BBC Scottish Symphony Or - Written exactly 10 years later, in 1998, tailed information, and the artwork for chestra’s recent outstanding recordings of a totally different feel is created in this this is interesting too. The production is, Tippett’s undeniably brilliant four num - one movement work. Straight from the as you’d expect from Hyperion, excellent, bered symphonies and, instead, sniped at start we know were in for something in - with the sound of the performers cap - an easier target -- a weaker and earlier teresting, as the composer takes us into tured at their tonal best. work, the little-known Symphony in B flat. his own world, using a palette of string - PETER BYROM-SMITH Here it is valiantly recorded for the first techniques, throwing one idea, after an - time. other into the mix. At times the music is - - - - - A palpable mood of expectancy sur - moody, reflective, and at others, exciting rounding the much-anticipated unveiling and energetic - a real tour-de-force of of the disjointed B flat symphony is shat - tonal qualities indeed, and it sometimes Tippett Symphonies tered by disappointment. almost takes your breath away, such is the By sharp contrast, the Fourth Sym - Symphonies No 3&4 intensity! phony, ambitiously written to represent a BBC Scottish Symphony Orchestra journey from birth to death, is given a Martyn Brabbins conductor -14 - CD REVIEWS powerfully convincing performance. Brabbins proves a convincing ambassador Sir John Tavener for Tippett’s creativity. The haunting sound of human breathing is skillfully added between some dramatic playing, particularly from tuba and trombone. There are clear shades of Carl Nielsen’s Symphony ‘Semplice’ here, in - fluencing the orchestral technique of Tip - pett’s clever writing. The dark and deep Symphony 3, com - posed to reflect the horrors of World War 2 , effectively captures some menacing moods. They are well enhanced by the chilling tones of soprano, Rachel Nicholls. However, the infamous Symphony in B flat (1933) is certainly inferior to its four successors but does expose flashes of the genius that was to irrepressibly mature in is of often intensely personal. Such a piece Tippett’s memorable subsequent compo - is ‘They are all gone into the world of light’ - - - - - sitions. composed in response to the funeral of It amply illustrates Tippett’s early in - the wife of his heart surgeon (Tavener suf - fatuation with Brahms and Sibelius but fered from cardiac problems throughout Caractacus also shows how this was to go on and ma - his life). Neary has a particular regard for Elgar Caractacus op 35 ture in later works of the 1940s and be - this ‘miniature masterpiece’ with its dis - Huddersfield Choral Society yond. tinctive sound world: changing tonalities, Orchestra of Opera North - CHRIS BYE a haunting section in unison, repeated bottom Cs for the basses, finally resolving Martyn Brabbins conductor Hyperion CDA 68254 - - - - - in a major key. ‘Angels’ is one of the most powerful and characteristic items on this disc, pproaching this lengthy major Elgar John Tavener: Angels composed for the unveiling of a stained- oratorio from a position of igno - glass window in All Saints Church, Bas - Arance I was surprised to find that Winchester Cathedral Choir ingstoke. The piece contrasts there are at least three competing record - George Castle organ straightforward choral writing with bril - ings available. So, while I am unable to Andrew Lumsden conductor liant dissonances for the organ while refer to the competition, I can at least say Hyperion CDA 68255 Tavener’s mastery of spatial effects is fully that as regards performance and record - in evidence. ing this issue is excellent. his well-filled CD is a useful collec - The final five anthems on the disc I equipped myself with a free down - tion of some of the composer’s come from a commission from London’s load of the score from IMSLP to facilitate Tshorter choral works in finely Temple Church for their All-night Vigil to my understanding and enjoyment of the judged performances and recordings. The be performed, as the composer notes, music. Such doubts as emerge after lis - disc is enhanced with a useful booklet ‘from dusk to dawn, a wake anticipating tening apply to the work itself which from Martin Neary, one of Andrew Lums - the end of night, from death to rebirth.’ comes immediately before Enigma, den’s distinguished predecessors at The settings reference aspects of Gerontius, and in Elgar’s Winchester. Neary writes that ‘Tavener in - Tavener’s particular musical language oeuvre. His compositional technique is sisted on the purity and stillness of the from the simple beauty of orthodox-based amazing given the claim that he was ‘self- choral blend’ as well as his distinctive in - chant to music of ever- increasing com - taught’. The orchestral writing is involved, terpretation of the declamation of Ortho - plexity. complex, and demanding to play, and the dox chant. The first item on this disc, a Neary quotes Sir Nicholas Kenyon’s vocal lines are extravagantly operatic (and Christmas proclamation ‘God is with us’ eulogy delivered at the composer’s fu - very well coped with by the soloists here). with the tenor William Kendall in fine neral: ‘John’s music is never weak, always The problem is Elgar here only intermit - voice, demonstrates from the very start strong; never merely harmonious but al - tently comes up with those memorable the idiomatic quality of the performances. ways powered by dissonance and har - ideas that grace almost all subsequent 'The Hymn to the Mother of God' re - monic conflict which resolves into works. The adumbrations of this facility minds the listener of Tavener’s penchant concord.’ could be seen here as slowly emerging for the occasional melodic surprise and is This CD is a worthy compendium of from the chrysalis of his imagination and beautifully realised. Although many of the wonderful music enshrined in perfor - good bits are increasingly apparent as the pieces here are written to serve the Or - mances of great skill and sensitivity. work develops. thodox liturgy, the intention behind them - ALISTAIR MACDONALD The first two scenes are hard going

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hat we have here is an attractive mind us (if we needed reminding) of Bob and unfailingly tuneful compila - Chilcott’s formidable skill and imagination Wtion of pieces for mixed chorus, as composer and arranger; the performers piano and chamber orchestra each readily are sensitively accompanied by Ian le classifiable as ‘easy listening’. Some are Grice and do him justice. unfailingly popular with choirs, but in ad - ‘The Ground’ and a setting of ‘Ubi dition there are two world première Caritas et Amor’ by the Norwegian Ola recordings on this disc both from the Cor - Gjeilo demonstrate his easy and approach - nish-born composer Paul Carr (b. 1961). able way with liturgical music although the His output is prolific and inhabits a variety of genres including chamber music, or - chestral works and variety of pieces for chorus. His setting of the Stabat Mater is divided into six movements where the musical language is predominantly melo - for all concerned, including the listener. dious. Like ‘The Lamb’ (also on this disc) Then in Scene 3 (‘The Forest near the Sev - the Stabat Mater has its moments of gen - ern’) comes more distinctive and charac - uine emotional intensity realized with teristic music, and the final peroration is commitment by the youthful voices of the truly and grandly ‘nobilmente’ (though not choir. The orchestra provide generally ef - so described in the score). fective support although they tend to pre - The libretto by Henry Arbuthnot Ac - dominate when balanced with choir. worth is prolix, which I suppose is what These attractive works should appeal to Elgar demanded (all those minutes to fill, choirs and conductors who know their as required by the commission). The Goodall and their Jenkins. problem is that the drama itself is very Lauridsen’s ‘Sure on this shining accompanying booklet rather ‘talks up’ the odd. In brief, Caractacus fights the Ro - night’ and ‘O magnum mysterium’ are two qualities of the pieces. ‘Amiable and at - mans, gets beaten and carted off the Rome of the composer’s most winning and pop - tractive’ yes; ‘intensely moving’ perhaps where, arraigned before the emperor ular short pieces. The first is a setting of a not. Claudius, his eloquence and nobility of James Agee poem that in Lauridsen’s From the same stable as Lauridsen spirit save him from execution; he is al - words ‘Has its roots in the songs from the and Gjeilo comes Eric Whitacre, who is lowed to stay and settle in Rome. (This last Broadway musical and should be sung that represented by one of his most charming is historical fact, by the way). Acworth and way with a good deal of rhythmic flexibil - and well-wrought choral miniatures – Elgar attempt to show this as a great patri - otic victory, which is a bit of a leap, and we have to draw a veil over this deus ex machina and just enjoy some of the best pages in the score. The chorus sing with splendid convic - tion, firmness of tone, and energy. This is as good as choral singing gets. And there are no complaints about the orchestral playing or of Martyn Brabbins’ grasp of the score. I felt that the balance, in favouring the soloists, meant that some orchestral detail does not come through, though this is less obvious if a score is not to hand. - GEOFFREY ATKINSON - - - - - English Arts Chorale

Radiance ity’. The second is one of the composer’s ‘This Marriage’, written as an anniversary most profound and moving works with its tribute to the composer’s wife. The ap - Paul Carr - Morten Lauridsen - Bob wonderful feeling for choral sonority. The proach is simple and direct, syllabic in Chilcott -Ola Gjeilo -Eric Whitacre recording here does not always flatter the style but quite touching in its innocence English Arts Chorale voices, but the performers show the same and sincerity. English Arts Orchestra commitment and sincerity here as they do - ALISTAIR MACDONALD Leslie Olive conductor in the other pieces on this disc. Ian le Grice piano The Irish folk tunes on this CD re - EM Records EMR CD055

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