BRITISH MUSIC SOCIETY

nAUGUST 2018 ews

THE PIPER OF DREAMS A Ruth Gipps perspective

ELGAR ENIGMA Rachel Barton Pine’s magnifica musica Agenda British Music Society’s news and events What you missed at the AGM

his report of our Annual General Meeting covers the key areas of the Recordings Chairman’s TBritish Music Society’s activities as The generous bequest from Michael follows: Hurd for recordings has finally come to an end unfortunately and it is only to be welcome E-News expected that new releases by the Society will In the summer of 2017, Harold Diamond be less frequent now in number. New 'll keep my address short as the indicated his need to retire from his position opportunities to record will largely depend Chairman's Report from this as the monthly E-news editor. There were on receipt of grants from other funding year's AGM on June 30 is being difficulties finding another member with the bodies. I necessary time and the increasingly In November 2017, the songs of Arthur reproduced in this edition of Printed demanding technological skills to do this job. Benjamin and Edgar Bainton with Susan News. What it will not tell you is In light of this, the decision was made to Bickley (mezzo), Christopher Gillett (tenor) Dominic Daula, our new Journal employ Michael Wilkinson and Nicholas and Wendy Hiscocks (piano) with some Editor, joined the Committee at the Keyworth of Revolution Arts to conduct the funding from The Edgar Bainton Society AGM and John Gibbons revealed work for an agreed sum of £100 per month. (London) were released on Naxos 8.571377. exciting plans to mark the Society's According to the Treasurer, this has proven Printed News to be one of the Society's best sellers. 40th Anniversary with an orchestral With the departure of our multi-talented James Dickenson of the Villers Quartet concert on Saturday 22 June 2019 in Chairman Adrian Lucas in June 2017, the has submitted their recording of William St. John's Smith Square. Further Society was left with no Printed News editor Sterndale Bennett Quartets to Naxos. The details about the programme will be and designer. In order to fulfil this task, the release date is anticipated to be in the announced when they are finalised, Printed News (now three per year) was given autumn of 2018. but it is our intention, if possible, to to Revolution Arts at a cost of £600 per issue. Madeleine Mitchell, in collaboration Revolution Arts has proven themselves to be with the BMS, Diane Ambache Trust, RVW include a performance of Bax's reliable and able to produce high quality work Trust, Ty Cerdd and private donors, has Symphony No. 1. The Society will to the satisfaction of the members for both embarked on a recording of chamber music need to fundraise for this event so if the E-news and the Printed News. As each by Grace Williams. The violin sonata has now you are at all experienced in this area new Printed News is mailed, a pdf of the been recorded and other repertoire is being and can assist with application forms previous issue will be posted on the BMS recorded throughout June and July 2018. website. Naxos will accept the master with a release etc, we would love to hear from you. date planned for International Women's Day Material for the Printed News is Journal in March 2019. drawn from the monthly E-News. Owing to work pressure and personal Pianist Matthew Schellhorn has The latter has taken on a life of its circumstances, the September 2017 and succeeded in securing enough combined own over the past year and it is now March 2018 Journals edited by John Gibbons funding from the Howells Trust and the BMS no longer possible to find space for all were not issued on time. In April 2018, it was to proceed with a world premiere recording agreed that Dominic Daula would take over of Howells's piano music. This project will fit E-News articles and notices in the as editor and begin work immediately on perfectly into Naxos's own series on Howells Printed News. If you want to read the combining these two delayed issues into one and plans to move ahead with this recording full component, please subscribe to volume. Dominic has estimated that copies are now in place. E-News. will be posted out to members between 23 Wishing you a wonderful and 30 July after which, the Journal schedule Review panel Co-ordinator and Editor will be returning to some normality. Dominic Paul Jackson retired from this position in summer as I listen to the first night of is here in person to talk more about his March 2018 and was replaced by Geoffrey the Proms on the radio—an all British approach and vision for the Journal. Atkinson. Geoffrey has since expanded the programme with music by RVW, Holst, the late Oliver Knussen and a premiere by Anna Meredith. Dr. Wendy Hiscocks British Music Society Committee Wendy Hiscocks (Chairman), John Gibbons (Vice Chairman), Stephen Trowell (Treasurer), Dominic Daula (Journal Editor), Advisory roles: Karen Fletcher Printed News designed by Revolution Arts

-2- Elgar: The Man Behind The Mask won a BAFTA for the quality of its sound

Bridcut’s composer films are triple delight

Three of John Bridcut’s award-winning d’Argent at the French film festival, FIPA. approach. Each film is a mixture of films about composers and musicians are The third film, The Pleasures of Delius, documentary and performance, and now available – the first releases of a new focused on the highlights of Frederick explores unfamiliar parts of the DVD label, Crux, produced in partnership Delius’s early years, before he succumbed composer’s repertoire as well as shedding with Gonzo Multimedia. to terminal illness. It was originally fresh light on their greatest hits. The Elgar: The Man Behind The Mask won broadcast under the title Delius: films are written, narrated and directed by a BAFTA for the quality of its sound, and Composer, Lover, Enigma. John Bridcut, and edited by Samuel R was also named Best Documentary by the Although the three documentaries Santana. Golden Prague TV Festival. The Passions were produced individually for BBC Four, Available from Crux Productions, of Vaughan Williams won the Prix they form a distinct series in style and www.johnbridcut.com

number of reviewers and has recently BASC 2017 and BASC 2018 Ambassador to represent the BMS overseas. introduced a 'Biteback' section in the E- Last year's BASC 2017, run in This was organised with the Head of Strings News to give opportunity for responses by collaboration with BMS member Nigel at the Kansas State University Dr. Cora members and the public sector to review Foster who is Artistic Director of the London Cooper with the masterclass being part of a content. Song Festival, was judged to be success by all Kansas State Violin Week. Conducted in the those who attended but BMS member Kirmser Hall on November 8, the event was Website support on the day of the open to the public and well attended; four Hannah Grove began the process of masterclass/competition continues to be string players prepared works by Elgar (Salut updating of the BMS website’s Recording extremely poor. Peter Warlock was the d'Amour' and Rebecca Clarke for violin pages, the existing information having for compulsory song element with the (Midsummer Moon) and viola (Impetuoso some time not fully represented the masterclass and prizes awarded by Dame from Sonata). complete scale of the Society's input which Felicity Palmer. This event was judged to be a success is considerable. Progress so far has been Nigel Foster has engaged Roger Vignoles but in view of the challenges posed to the very slow due to Hannah's family obligations to give the masterclass and judge BASC 2018 host organisations in setting up a and problems with the website's capabilities. with Frank Bridge as the compulsory song masterclass, the committee has proposed Addressing issues concerning the composer. The event will take place on that the Ambassador be given the option of maintenance and updating of the website is November 17 at the Austrian Cultural Forum, presenting a lecture-recital. Repertoire becoming an area needing attention that is Knightsbridge. The BMS has decided to pool promoting well established composers such still to be addressed. The Society is in need the prize money donated by the BMS and as Elgar, Vaughan Williams and Britten is of a member prepared to join the committee Stephen Trowell to create a single first prize also to be avoided. to oversee website maintenance and of £800 that will be divided between the development An alternative is to engage winning singer and pianist team. Date of next AGM Revolution Arts providing they are able to It is proposed we hold the next AGM in secure funding to enable them to carry out BMS Ambassador programme central London on Saturday 22 June 2019. the work on a longer term basis. Madeleine Mitchell was the first

-3- Inbox Send your letters to the Chairman to [email protected] or write to 178 Alexandra Road, Muswell Hill, London, N10 2ES

was pleased to see you used my piece ing the war. least the equal of the better known George on Frederick Kelly in the latest Next at yesterday's Museum recital Alex Butterworth, is obviously more prolific I[Printed] News (I had almost forgotten Wilson (again!) gave the modern premiere than I at first suspected. I wrote it!). There is, however, more to re - of Kelly's 24 Monographs composed in Philip Scowcroft port on Kelly. A year or so ago we had in 1914 and performed by Kelly in that year. P.S. The 24 Monographs were per - our Doncaster Museum lunchtime con - These 24 miniatures I see as being in the formed in two groups of 12 separated by certs a performance of his Violin Sonata nature of sketches which he might have six similarly short movements by a con - of 1915, sometimes called the Gallipoli incorporated in a longer work or works temporary English composer Howard Sonata as he composed it in the trenches had he been spared. The Monographs are Skempton bearing the evocative titles there. This was not a first performance as full of brilliant, short ideas and I under - Sweet Chariot, Trace, Saltaire Melody, Li - Kelly composed it for Jelly d'Aranyi, who stand Mr. Wilson is to record them in due cenza, Swedish Caprice and Durham fancied him (he didn't fancy her quite as course, along with Kelly's Twelve Studies, Stike. The second was for right hand only, much) and it was performed by Jelly dur - also unpublished. Kelly, whom I see as at the fourth for left hand. Introducing Geoffrey, new Welcome to review panel co-ordinator our new e are delighted to welcome Ge - church music publishing site www.fagus- members offrey Atkinson as our new co- music.com which was established in 1998. Wordinator for the review panel. He also composes, arranges, conducts Geoffrey is a widely experienced musi - and accompanies on the piano. A lifetime Dr. Jonathan Clinch cian. He has an MA in music from Ab - of listening to classical music, especially (Banbury, Oxon) erdeen University and is an Associate of British, has been enjoyed on good quality James Conn (Belfast) Nicholas Danks (Cambridge) the Royal College of Organists and was hi-fi equipment. Peter Darlington (Sudbury, music critic for the Aberdeen Press & Geoffrey takes over this role from Paul Suffolk) Journal from 1968-1985. Geoffrey has held Jackson. The BMS would like to express its Sandrey Date the position of director of music at huge gratitude to Paul who has done a (Bournemouth) Queen's Cross Church in Aberdeen since splendid job over the past few years. Mrs Jingle Gawley (London) 1977 and is the proprietor of the online Mike Gregory (London) Nicholas Haralambous (Manchester) ..and Journal editor Dominic Christine E. Jasper (London) ominic Daula holds undergradu - presented a paper on John Ireland's Jo-Anne Kemp (Tasmania, ate and postgraduate degrees in 'Greenways' (1937) for piano at the 2015 Australia) music (both awarded cum laude) Congress of the South African Society for Paul Kingsley (Belfast) D from the University of Cape Town, where Research in Music. His recently com - Mrs Judy Knowles (High he was mentored by Francois du Toit and pleted dissertation "'Dialectic', opus 15 Wycombe) Franklin Larey (piano), Grant Brasler (1929) by Alan Bush: an analytical study" Daniel Mitterdorfer (Newport, Australia) (harpsichord), and Emeritus Professor was considered by Dr Barry Smith (the Juliet Morelli (London) James May (musicology). As an advocate of Peter Warlock scholar) as 'excellently re - A. G. Nicoll (Kettering) British music, Dominic has made contri - searched, perceptive, and written with Elizabeth Nurse (Aylesbury) butions in both practical and academic mature and impressive insight'. Martin Pantling (Luton) studies. Dominic is currently based in Manch - Isobel Platings (London) In 2015, he curated and performed in a ester where he has won a scholarship at Vera Todorovic (Nottingham) three-part concert series commemorat - the Royal Northern College of Music for a University of Nottingham ing the fiftieth anniversary of the death of Masters in solo piano performance. In the Erik Chisholm, and in 2016 a concert of last few weeks, he has received the 2018 music by Alan Bush which included the Musica Britannica Research Award to southern hemisphere premieres of his conduct further study into the third and piano quintet, and two piano sonatas. He fourth piano sonatas by Alan Bush. -4- Rubbra’s vintage performances never die

Edmund Rubbra: Symphonies 2 & 4 BBC Symphony Orchestra, Sir Adrian Boult and Edmund Rubbra conductors (SOMMCD0179)

intage performances never die. Second Symphony, a notable work which were in fine fettle even in those dismal This oft-quoted maxim is em - the composer dedicated to Sir Adrian, -- war days. Vphatically reinforced in a distinc - a veritable champion of his extensive This is an interesting example of the tive modern-day release featuring two musical output. master delivering one of his 11 sym - pre-eminent names from Britain’s dis - Convincing orchestral forces, em - phonies. Old performances, often stig - tinguished musical past -composer, Ed - bracing repeated motifs, literally thunder matised by poor sound quality, can mund Rubbra and one of the greatest out with an engaging dash and panache. survive ensuing decades by virtue of a champions of his music, the high-profile Boult’s sure-handed baton impressively composer’s conducting talent, it seems. conductor, Sir Adrian Boult. marshals the thick textures of this ap - This 72-minute classic renovation The re-mastering of these archived pealing music, conceived in those 20^th ends with a track devoted to an interview performances certainly breathes a very century idyllic English music days. with Rubbra who gives a fascinating ac - welcome new lease of life into the im - The composer-conducted Fourth count of the scoring of his Fourth Sym - pressive scores of Rubbra. He was a Symphony, a live recording made in the phony. Typically, the modest and British composer who many expert com - bleak wartime years, is dogged by intru - reserved composer says nothing at all to mentators – including that well-re - sive audience coughs and fidgets. Per - promote his brilliant talent. garded expert, Robert Layton– firmly versely, this adds to its atmospheric As Sir Adrian once lamented: “He believed rivalled one of his better-known authenticity which is a latter-day record - (Rubbra) never makes any effort to pop - contemporaries, a certain Ralph Vaughan ing featuring Rubbra himself wielding ularise his work. He just goes on creating Williams! the baton. masterpieces.” At least this historic re - Memories of the much-admired Rubbra delighted in what he called lease goes some way to reveal that cre - conducting flair that impressively oozed this work’s “plodding accompaniment” ativity and rarely performed, delightful from Sir Adrian Boult, one of history’s and its repeated five note rhythm. It ends Rubbra genius. More please. greatest rostrum figures, is here also with a spectacular uplifting blaze of tri - - CHRIS BYE beautifully preserved. This is a memo - umph, exposing how the strings and rable interpretation of Rubbra’s dramatic brass of the BBC Symphony Orchestra

-5- BITE-BACK The piper of dreams A Ruth Gipps Perspective

In this new section we welcome responses to reviews. You may wish to disagree with the reviewer, or add something to the review, or offer a response. If you wish to contribute e-mail Geoffrey Atkinson at [email protected]

Hopekirk CD review Read it: Page 8

Please correct your review on Programme 20 of of the Hopekirk CD. She is Scotland's Music 2007 given ample coverage in the (BBC Radio Scotland, 2007 edition of Scotland's Producer David Music pp.266-267 McGuinness). The HE biennial Villages catalogue of orchestral, including a b&w portrait, programme started with Music Festival brings choral and chamber music, and I worked with Gary and Dance to Your Shadow (solo together the Sussex on top of playing the oboe his wife on the centenary piano) and followed by an T villages of Ripe, Laughton and cor anglais profession - festival in Portobello at interview with Gary and a and Chalvington in a cele - ally, founding orchestras and which I gave a song from her beautiful bration of the music of this teaching music at the highest presentation. In fact this Der Nordsee Lieder, which fascinating Sussex com - level. side of the pond I have been is so very lovely. The whole her main publicist, though cycle is lovely and no poser. Yet her music is unper - Gary and Dana are the commercial recording Ruth Gipps was a signif - formed and largely forgotten: heroes of the revival. I have exists of it as yet . . . icant figure in twentieth if she is remembered at all, it also broadcast her music John Purser century British musical life. is condescendingly, as an Born in Bexhill-on-Sea in outspoken and 'difficult' England, Ruth Dorothy woman in a man's musical On the CD Gary and Dana but Hopekirk was simply Louisa Gipps MBE (1921-1999) world, where her richly lyri - refer to my 2006 lecture unknown before Dana and was a child prodigy, winning cal, rhythmically inventive recital for the 150th Gary and was new even to performance competitions style, firmly rooted in twen - anniversary (not centenary them; so the comment and performing her first tieth-century tonality, was at as I wrote in my previous e- stung me a little, I confess. composition at the age of 8 odds with the prevailing mail). Dana only I remain dedicated to which was subsequently taste for atonality and exper - completed her thesis in keeping Scotland's Music bought by a publishing house imentalism. 1995 (3 years after the first up-to-date but I doubt if for a guinea and a half. In retirement, Gipps re - edition of Scotland's Music) any radio station will ever Gipps entered initially turned to Sussex, living at I am currently at work on a give me the chance to do studied at the Royal College Tickerage Castle near Fram - third (and final) edition of yet another series. The of Music with tuition from field until her death. From Scotland's Music for first one was 45 hours of Zeticula Press. I appreciate broadcasting; the second, Gordon Jacob and Ralph here she sallied forth, what - the statement that 25 hours. Vaughan Williams and then ever the weather, in her Scotland's Music was John Purser at Durham University. open-top Morgan to conduct otherwise comprehensive, She lived a life of ex - choirs, such as the Chalving - traordinary creative and or - ton Singers, and play the ganisational energy, organ in local churches. composing an impressive

-6- CD REVIEW Clarinet Fantasies

Nadia Wilson Clarinet Martin Butler at the age of Martin Butler Piano seventeen and receive their premiere recording here with Arnold Bax Clarinet Sonata the composer at the piano. Joseph Horovitz Sonatina This quirky and energetic Martin Butler Barlow Dale jazz-inspired soundworld has John Ireland Fantasy-Sonata an immediate appeal and works superbly alongside Joseph PRIMA FACIE PFCD076 Horovitz’s finely-wrought Sonatina. Although the Bax and In a world saturated with CD Ireland provided a large recordings, ones that represent contrast with their long arch- a ‘personal musical journey’, phrases and constant rhapsodic (suggesting a possible treatment of material, prioritising of artist over music) unfortunately the performances might make your heart sink, here lacked energy and any however, at the centre of this strong sense of the overall programme are two works architecture present within which deserve a larger these masterpieces. Recorded audience. ‘Barlow Dale: Four in two locations over a year Characteristic Pieces’ (1977) take apart, the recording quality their inspiration from cats in a varies, with quite a flat piano feline-detective book by Ruth sound. Joseph Sivern. They were written by Horovitz - JONATHAN CLINCH

Revealed: the future plans for BMS Journal

ew BMS Journal edi - 2018 issues as a merged publi - still open for the September viewed in high esteem by both. tor Dominic Daula ex - cation. This should be ready 2018 issue. This can only be made possi - Nplains his plans for for distribution between 23 I do not expect all sub - ble with your support, whether the future of the publication… and 30 July. I should mention missions to be formalist and as a contributor or as a com - Since taking up the edi - at this point that as things reg - analytical essays in the tradi - mitted subscriber. torship in April, I feel I ought ularise, the September 2018 tional musicological sense — To mark the fortieth an - to update interested parties issue will also be released at a however, your article’s niversary of British Music, we and the journal’s loyal sub - later date, though this should (research) scope should be are hoping to inaugurate our scribers on the publication be no later than November of well defined and have very first essay-writing competi - schedule for the issues dated this year. Some of the content clear aims and objectives. tion, which should take place September 2017 and March for the September 2018 issue is Some of the subscribers to on an annual basis. In an effort 2018. Furthermore, I would streaming in, which is encour - British Music are institutional to increase the youth’s en - like to express my gratitude to aging. libraries and one needs to be gagement with the publica - the chairperson for appointing mindful of that. I look forward tion, it has been decided that me during a challenging pe - Call for content to receiving your submissions! only students registered for an riod for the publication. On I would like to encourage all undergraduate or postgradu - that score, I would like to interested parties (whether or Looking ahead ate programme at any institu - thank you for being so patient not you are a subscriber) to The journal has immense tion (in the world) are eligible with me as I settle in my new submit articles for publication potential to be a powerhouse to apply. The winning essay position, and for your patience to journal@britishmusicsoci - of accessible intellectual will be published in an issue of with regard to the slow release ety.com or dominic.daula thought in British music the journal determined by the of the journal. @gmail.com – please feel free scholarship. Many scholarly committee. More details will to discuss the feasibility of journals appeal only to the be shared at a later stage. The present situation your topic with me before you erudite, thereby alienating the We have resolved to release type up a complete enthusiast. British Music is a the September 2017 and March manuscript. Submissions are publication which is able to

-7- PERFORMANCE REVIEW Irony of Iolanthe

Gilbert & Sullivan: Iolanthe English National Opera

nglish National Opera’s new pro - charming libretto. McCrystal embellishes Sullivan’s real emotional substance. This duction of Iolanthe is a visually the dialogue with asides that impede the might be a comic opera, but the plot’s Estunning, occasionally hilarious, period charm of the text, and even simple central naïve, bucolic love interest be - frequently infuriating, staggering disas - substitutions like ‘liberals’ in place of tween Phyllis and Strephon must be be - ter of judgement – ironic for an opera ‘radicals’ are unnecessary – the humour lievable, but here their ardour is made a that features heavily the selfish incompe - is in the text and relies on the subtlety of joke, even their most tender moments tence of the House of Lords. delivery. ruined by interfering, slapstick ‘funny Exquisite sets and costumes by Paul From established ENO favourites business’, disorientating the observer in Brown are excellent – highly coloured Yvonne Howard and Andrew Shore as the a way that would have undoubtedly and impressive in scale, whether Fairy - Fairy Queen and Lord Chancellor re - aroused Gilbert’s fury. Even Samantha land or Parliament the visual impact of spectively to the company’s younger Price’s Iolanthe is accompanied by Arcadian simplicity or imperious West - artists, including Ellie Laugharne and bizarre interpretive gesticulation. minster is deliciously evocative and en - Marcus Farnsworth as Phyllis and Under the expertly informed guid - tertaining. Strephon, the cast and chorus sing well, ance of conductor Timothy Henty, Sulli - Sadly, this implies that the blame for but no specific performance stands out van escapes relatively unscathed, the show’s shortcomings lie squarely as exemplary, their interpretations being extracting from the orchestra all the sen - with director Cal McCrystal who, in a corseted by a shameless pandering to the timent they can muster, and it is a shame crashing Carry On flavoured farce, con - lowest common denominator – lightness that McCrystal’s emotionally abortive at - sistently demolishes the dramatic and and elegance fall victim to an aggressive, tack of the drama mocks their effort musical narrative with sledgehammer tasteless ‘knees-up’ brand of humour de - rather than enhances it. innuendo, in an unrestrained assault on signed to whip up the audience into pan - - ALICE THOMAS Gilbert’s already sufficiently witty and tomime belly-laughs, void of Gilbert and

-8- New competition for Helen Hopekirk, steeped young musicians Amy Yuan, Director of the Amy Yuan Academy in 19th century tradition in Beijing and graduate of the RAM, will be conducting a competition for young musicians between the ages of 4-24 years at the 1901 Arts Gary Steigerwalt piano Club, London on 16 August 2018. Categories cover strings, piano and voice. Repertoire lists Scottish Folksongs of British music to be performed can be Two Tone Pictures viewed on the website as well as information Suite for Piano about the judging panel and prizes. Amy will Iona Memories be bringing a contingent of talented young Miniatures etc Chinese musicians to compete and is urging young musicians based in the UK to enter. Toccata TOCC 0430 Amy sought the endorsement of the BMS for this event and we are delighted that BMS former Chairman John Talbot will be our representative on the day to give out BMS prizes of the Composer Profile publication and ELEN Hopekirk (1856-1945) Marjorie Kennedy-Fraser in often BMS CDs as well as sign certificates for the will be an unknown name forcing the music into 19th century performers. For more information visit Hfor many of us until now, harmonic procedures. Composers www.ayacademy.net/en.competition and despite being born in like Bartók and Kodály, and Edinburgh she escapes the notice Vaughan Williams, Holst and of John Purser in his otherwise Moeran etc were far more Celebrating 100 years comprehensive ‘Scotland’s Music’. sympathetic to the inherent modal This will be partly due to her or pentatonic characteristics of of the AEB emigrating to America in 1897 their source material. which is before she had Hopekirk’s music improves as Dr Rita Crews’s History of the Australian consolidated her reputation as a she matures and the later works Examinations Board formidable concert pianist. Also are worthwhile, particularly the The Australian Music Examinations Board most of her published final two items ‘Dance to your (AMEB) is proud of its history and has engaged compositions dates from the last Shadow’ - which sounds like renowned musicologist, Dr Rita Crews, OAM, decades of the last century. Ronald Stevenson! - and ‘The to write a history of our organisation She was clearly steeped in the Seal-woman’s Sea- joy’, to which Centenary Celebrations: the Australian Music 19th century traditions of the above reservations Examinations Board 1918 to 2018. The book compositional and piano emphatically do not apply - to use displays a comprehensive and fascinating look technique, thought later she the old cliché, they are a good at our journey from the point of Federation in partially absorbed some of reason to buy the disc. 1918 up to today. Debussy’s ideas. In itself there is Hopekirk’s present champion Featuring the personalities, syllabuses, nothing wrong in this so long as is the pianist on this disc – Gary certificates and education directions from the the composer has something new Steigerwalt who, in partnership last 100 years plus lots of images and pictures to add, but Hopekirk is not quite with his wife, Dana Muller, is discovered in the archives, this book is for all good enough to achieve this. The writing the definitive biography. music education fans in Australia. The book's music is well constructed and He is a retired Massachusetts foreword is written by Senator the Hon. Mitch thoroughly pianistic, but there is based university music professor Fifield, Minister for the Arts. an underlying triteness of and a prize-winning concert Visit the AMEB website at expression that does not quite pianist; thus the performances are http://centenary.ameb.edu.au to purchase the satisfy. excellent. The 20 page insert- book. Much of the music on this disc booklet is thoroughly makes use of Scottish folk material comprehensive. and this is indeed recognisable IMSLP has a few Hopekirk Submissions for CD (‘Brahms in the Highlands’ is items for free download if you are Toccata’s way of putting things). curious (though not, alas, the final and book reviews So she tends to fall into same two items above). condemnation as the (in)famous - GEOFFREY ATKINSON Our coordinator for CD and Book Reviews is Geoffrey Atkinson. Books and CDs for review should be sent to him at Beech Cottage, BITE-BACK Drumoak, Banchory, AB31 5AL He will then allocate them to members of our review panel Read an alternative view in our new “Bite-Back” column - Page 6 or email [email protected]

-9- BOOK REVIEW

Hubert Parry, a life in photographs

Hubert Parry: A Life in Photographs, Michael trott (Brewin Books)

ICELY timed for the centenary number of fine young composers, and perhaps Parry’s most famous tune is year of Parry’s passing, this su - someone who wrote at least 3 rather introduced. This is in a sort of ballad Nperbly produced book is rather good tunes. However, as the publicity style. It was converted into a hymn tune more than a ‘life in photographs’ as it is material says, he was not conventional by George Gilbert Stocks (1877-1960) also a biography detailed enough for the at all – ‘an historian and free-thinker….. music master at Repton public school in general reader, with observations on a squire, a sportsman, a churchman’. 1924 (and thus called ‘Repton’). The (Also, it might be added, he was a keen keen-eyed will spot that Parry’s major works as appropriate. The 88 early motorist and yachtsman, and all- metronome mark is crotchet = 112, pages contain no fewer than 138 colour round good egg.) which is at least half as much again than and b & w photographs. Perhaps he was too fluent a the normal tempo of the hymn tune. So Mr Trott is a retired aeronautical composer; some would agree that while Stocks recognised the allure of slowing engineer with a life-long interest in there are some truly wonderful down the original tempo, and thus music, especially that of Parry and moments in his music, some of it is a bit created one of the most loved hymn Elgar; he has written several ho-hum and goes on a bit. I trust I may tunes of the present age. monographs on the latter for the Elgar be forgiven for repeating George - GEOFFREY ATKINSON Society of which he is an honorary life Bernard Shaw’s observation (or was it member. Delius?*) after having sat through what *Does anyone know for certain – The book makes clear that Parry he deemed was yet another tedious sounds like the waspish Shaw to me? was rather more than the image most oratorio, that ‘given time Parry will have people will have of him, namely that of a set the whole bible to music’. £30 + £3 postage and packing considerable educator, who with C V There is one interesting fact which www.brewinbooks.com or direct from Stanford, dragged English music out of may interest the reader. On page 51 is a the author at [email protected] its 19 century doldrums, helping to reproduction of the page of the score of (mailto:[email protected]) Tel: establish the careers of a significant the oratorio ‘Judith’ (1888) where 01684 2948590

British music ambassadors appointed

Four leading musicians – all international ambassadors for British music – have been appointed patrons of the John Ireland Charitable Trust with immediate effect. Mark Bebbington, Julian Lloyd Webber (pictured), Roderick Williams OBE and John Wilson are stalwart interpreters of Ireland’s music and committed to bringing his works to the wider consciousness through their recording and performances.

-10- Cooking up a storm with Pleyel Ensemble Bantock Rediscovered The Pleyel Ensemble have announced the undertaking of a pioneering large-scale Chanson de Mai (May Song) / project in collaboration with MPR Memories of Sapphire / Cloisters Recordings. The aim is to record a number of at Midnight / Barcarolle / Reverie chamber works by the English composer / Parade March / Two Scottish Arnold Cooke (1906-2005). The vast majority Pieces / Saul – A Symphonic of these will be World Première recordings by Overture / Twelve Piano Pieces this important and unjustly neglected composer. Maria Marchant piano The project will cost £25,000 and the Pleyel Ensemble are looking for subscribers and SOMMCD 0183 donors to help support this project. For more information please visit www.pleyelensemble.com or contact Harvey Davies at [email protected] N his informative CD booklet, Piano Pieces, the music lives up to Robert Matthew-Walker their titles quite graphically – take Iconsiders some of the reasons Rhapsode or Mazurka for instance. why the music of Sir Granville Saul – A Symphonic Overture Bantock fell from prominence is the most extensive piece and during the 20th Century. As a could almost be music for a silent result all twenty-three piano film. The scene changes though pieces in ‘Bantock Rediscovered’ not quite montage move quickly are available in a commercial from one to another. recording for only the first time. Bantock’s ability to create This is quite astonishing, atmosphere is particularly strong considering the remarkable in Cloisters at Midnight with its quality and allure of Bantock’s suggestion of organ chords, bells piano compositions. Matthew-Walker refers to the “always-clever structuring and “This is piano drily eloquent melodic style” that are a constant feature of all music that twenty-three pieces on this CD. Pianist Maria Marchant’s clean, deserves to be clear, often delicately poised John Ireland’s playing gives all these works their full value in an unremittingly better known” legacy seductive performance. The short opening piece, May Song, has a clean freshness that is and plainsong while Barcarolle The English composer John Ireland, superbly well constructed to a and the jaunty Parade March (1879-1962), was born near pattern that is hardly unexpected certainly live up graphically to Manchester, studied and taught at the – yet as we enter the 21st Century their titles. Royal College of Music, lived in where tuneful music is coming The Two Scottish Pieces, The Chelsea, London for over 50 years and back into fashion, (did it ever really Hills of Glenorchy and The Bobers died in a converted windmill in go away?) there is surely nothing of Brechin are arrangements of Sussex. Ireland’s foremost wrong with that. well known traditional melodies, inspirations were the ancient The majority of the pieces on but Bantock gives them landscapes of the Channel Islands, the CD are relatively short marvellous new life and raises Dorset and Sussex and the writings of although there are two groups them far above their folk origins – pagan mystic Arthur Machen; the which when brought together absolutely marvellous. composer recounting that he himself create a more extensive musical This is piano music that had experienced a ‘vision’ on the panorama. The three pieces that deserves to be better known both South Downs. constitute Memories of Sapphire, among general listeners but more The John Ireland Trust was formed or the Twelve Piano Pieces at the especially among aspiring pianists. in 1968 by Norah Kirby, Ireland’s end, have thematic affiliations that companion, secretary and house- bind them together in a most - ALAN COOPER keeper, for the purpose of supporting satisfying way. Also, in the Twelve performances, publication and recordings of the composer’s music.

-11- CD REVIEWS Tumultuous trio of sleeping giants awaken

SAPPHO, SHROPSHIRE & boring or both. Many, at best, owe their SUPER-TRAMP style to the teaching of a previous A collection of modern English art-song generation of song composers who did it better and, if not for the medium of Sarah Leonard soprano affordable recording, these songs might Johnny Herford baritone easily have been forgotten after their Nigel Foster piano initial performances. It feels somehow cruel to be so blunt Divine Art in appraising these songs in such broadly DDA 21230 (2 CD set) dismissive strokes, and yet I cannot shake the feeling that if none of these songs INCE its formation in 1983, The ever turned up in a recital, it would be no English Poetry and Song Society has loss to the rich body of 20th century Sreleased a small number of discs English song dominated by such giants as devoted to exploring songs by living Britten, Finzi, Lehmann, Vaughan British composers, and composers who of Ivor Gurney, is telling, and the Williams, Walton, Warlock… The have long since passed away but who are inclusion of his seven rarely heard influence of these composers throughout synonymous with the world of English settings of texts by the Greek poet Sappho both discs is evident, and many of the Art Song. Sappho, Shropshire & Super- was perhaps a tactical manoeuvre to songs here echo the well-established Tramp, is a 2-disc set featuring increase the disc’s appeal. Indeed, these movement of English pastoralism, while song-cycles by William Carnell, Ivor particular Gurney songs might have been more adventurous harmonies find their Gurney, Michael Watts, and Dennis better placed on a disc surveying rare root in Britten and Tippett. Wickens, along with 25 songs by Sulyen English Art Song by his more established Baritone Johnny Herford stands out Caradon, David Crocker, Brian Daubney, contemporaries. as an artist deserving of further Graham Garton, Frank Harvey, Robert Sadly, throughout the remaining 45 recording opportunities, while soprano Hugill, Janet Oates, and Simon Willink. songs it is difficult to pin down any really Sarah Leonard and pianist Nigel Foster That the recording was accomplished, inspired examples of already possess rich and diverse predominantly funded by those featured composition: most are acceptable, discographies. - ALICE THOMAS composers, with the exception of course perhaps even adequate, others just bad, Parry, the complete music for string quartet

PARRY: THE COMPLETE MUSIC FOR whose domestic music-making drew the STRING QUARTET likes of Stainer, Ouseley and a young Quartets 1, 2 & 3 Parry to write for them. In contrast, the Scherzo in C mature third quartet (c.1878) was written for the private chamber concerts at the Archaeus Quartet London home of Edward Dannreuther, MPR102 Parry’s teacher and mentor. Whilst it is very interesting to hear ITH a deluge of performances, most of this music for the first time, the publications and recordings overall performance fails to capture the Wmarking the centenary of his passionate spirit which is evident from death in 1918 and even a BBC Proms the scores. This is particularly apparent performance of the fifth symphony, it when contrasted with the Bridge seems that Parry’s time has come, and Quartet’s recording of ‘Early Chamber with the ongoing work of academics such Works’ on EM Records (the first to Professors Jeremy Dibble (Durham) and complemented with the short Scherzo in include the third quartet) and personally, Michael Allis (Leeds), both of whom C, which was completed from materials I would buy that or the forthcoming provided editions for these discs, the in the Bodleian Library for the recording. recording of Parry’s Piano Trios played by range and diversity of Parry’s music The Mendelssohnian first and the Leonore Piano Trio if you want to (beyond a certain hymn tune) is becoming second quartets (1867/1868) come from hear Parry chamber performances which fully apparent. This double-disc set Parry’s student days at Oxford when he live up to the ecstasy, lyricism and presents the first and second string came under the influence of the Donkin grandeur of ‘I was glad’ or any of the five quartets for the first time, as well as the family quartet (William Fishburn Donkin symphonies. second recording of the third. This is was Savilian Professor of Astronomy), - JONATHAN CLINCH

-12- Warp and Weft, discovering unusual repertoire

WARP & WEFT Trio as such since they clearly play a lot and perhaps a little too long. Rebecca Clarke Suite for two violins together with fine precision and Paul Patterson’s Allusions is based and piano understanding. on his double concerto with orchestra Paul Patterson Allusions trio for two The recording is ideal, spacious and and it was written for these artists who violins and piano warm and the performers sound very clearly enjoy the music. It is based on Gordon Jacob Four Bagatelles for two much at home in their surroundings. three contrasting operatic violins Rebecca Clarke has of course long characterisations. I do not know how E J Moeran Sonata for two violins been championed by the BMS and rightly significant it is that we do need to be told Alan Rawsthorne Theme and Variations so. The manuscript of this three this. for two violins. movement Suite only came to light in The final three works on the disc are 2000 while a finale was apparently never all for two violins alone, and some might Midori Komachi violin completed. The opening Prelude opine that they are probably more fun to Sophie Rosa violin immediately makes an impact in its play than to hear. The lack of tonal Simon Callaghan piano depth and richness, and the second variety is a handicap, but at the same movement Danse Bizarre is well named time the compositional skill and EM Records CD 043 with its unusual textures and musical resourcefulness in all these pieces is content. Indeed it struck me that it was mind-boggling - and none more so than HE enterprising company EM beginning to explore the sort of sound- in Rawsthorne’s piece which was to Records is here investigating some world that Bridge was to develop 15 years launch him on the international stage at Tfairly remote parts of unusual or so later. This piece gained the the ISCM Festival in 1938. This final work repertoire - and full marks for that. composer a scholarship at the Royal is especially well done and leads to an Curiously, possibly, the excellent College of Music in 1909. The third exciting climax. musicians do not name themselves as a movement Nocturne is less memorable - GEOFFREY ATKINSON

Putting Crosse on the map after all these years

GORDON CROSSE Orchestra, threading through its chirpy, Elegy for Small Orchestra swaying themes, leaves a lasting Concerto for Chamber Orchestra impression. A hypnotic mood of alluring Concertino broodiness oozes through this work. Violin Concerto No 2 Despite the intrusiveness of occasional coughs from an entranced audience, this BBC Symphony Orchestra Norman Del Mar 1965 live recording has Norman Del Mar conductor its own arresting impact. Budapest Symphony Orchestra The main feature on this collection George Lehel conductor has to be Crosse’s edifying Second Violin Melos Ensemble Concerto, superbly delivered by soloist Colin Davis, conductor Manoug Parikian, who is impeccably supported by the evergreen BBC Lyrita REAM 1133 Symphony under the widely celebrated conductor, Colin Davis. Although this YRITA here dusts down yet same Lyrita label. Now it’s the turn of complex work was recorded more than another historic release from the Lancastrian, Gordon Crosse (b. 1937). All 40 years ago, it still can boast a Lfascinating BBC broadcast are formidable British composers and challenging listen, equalling today’s collection made by its founder, Richard have, over the years, unfairly fallen by contemporary recordings. Itter. These, as listeners would expect, the popularity wayside. They are great Like the Elegy, the Concerto for are mono ADD recordings, but still names, certainly worthy of far more Chamber Orchestra (1962) is another faithfully capture memorable, eminent exposure. impressive early work and Crosse performances from bygone days. Gordon Crosse was born in Bury reveals a marked progression in his The re-issue of these yesteryear and, in the light of this attractive talent with his brilliantly orchestrated recordings is reviving interest in some amalgam from his considerable output, Concertino (1965). This release, part of a non-household names. Recently this it is quite amazing as to why his obvious rare collection of recorded BBC column was extolling the fine musical composing talent has been relatively treasures, is yet another essential piece virtues of Arnold Bax (1883-1953) and neglected by concert promoters and of a fascinating jigsaw, revealing the George Lloyd (1913-1998) whose music is recording companies alike. crucial evolvement of British classical enjoying a sparkling resurrection on the The hypnotic Elegy for Small music. - CHRIS BYE

-13- CD REVIEWS A punctilious platform for Vaughan Williams

BEYOND MY DREAM dramatically chilling, Sinfonia Antartica . Music for Greek Plays This premiere recording of incidental music boldly written for three Britten Sinfonia plays written by the ancient Greek writer, lan Tongue conductor Euripides (The Bacchae, Electra and Joyful Company of Singers Iphigenia in Tauris). This music will Michael Broadbent director definitely strike an overwhelming chord Heather Lowe mezzo soprano with both established Vaughan Williams scholars and enthusiasts alike. Albion Records ALBCD033 There is a beautiful balance between the sweet melodic, mezzo-soprano, voice HE current artistic trend to record of Ms Lowe and the genteel female choir every last coveted note written by of the Joyful Company of Singers, well- Tour British musical hero, Ralph directed by Michael Broadbent. Both are Vaughan Williams, takes another convincingly supported by some distinctive step forward with this delivers a warmth and ardour which is impressive playing from the highly- premiere release. well worth keeping an ear on for future experienced, Britten Sinfonia. It also provides a punctilious development. An outstanding overall performance platform for the luscious singing of ‘Beyond My Dream’ is one of RVW’s is competently held together by the mezzo-soprano, Heather Lowe, who is early works. It was composed in 1911 and masterful marshalling of Alan Tongue. rapidly proving herself to be another gives us notice of a composing style This is a noteworthy first from Albion exciting discovery to emerge from destined to mature into later choral Records which significantly adds to the Manchester’s Royal Institute of Music masterpieces like as Flos Campi and huge stature of one already and the indefatigable, National Opera Sancta Civitas not to mention those acknowledged as a great among British Studio. wonderfully lyrical vocal passages in the composers – the brilliant Ralph Vaughan Her sweetly penetrating voice blissful Pastoral Symphony and the Williams. - CHRIS BYE

McCabe’s charged emotional rollercoaster ride

A GARLAND FOR JOHN MCCABE make this release far more than a dirge. support. An anthology of tributes from 19 It is a mesmerising taste of ingenious This is well-conceived music, composers creativity which expresses heartfelt negotiating powerful journeys. It travels thanks for McCabe’s brilliantly creative through the mournful and plaintiff, Linda Merrick, John Turner, Alistair musical life. A posthumous garland Exequy or The Flame Has Ceased through Vennart and Peter Lawson. indeed. to the haunting and mellow Highland in A former president of the British direct contrast with the perkier and DIVINE ART DDA 25166 Music Society, McCabe was popular rhythmic works like, Rag for McCabe. among his colleagues and he fought hard This is a celebration rather than funereal HIS is a fascinating collection of for their rights as an active member of music. short pieces taking listeners on a the Performing Rights Society. The arts Lament for the Turtledove written by Thighly charged emotional roller- world in general and his surviving family Elis Pehkonen gives a tremendous display coaster ride, boasting some exceptional will be very proud of this rare honour. of Ms Merrick’s highly-accomplished compositions convincingly delivered by An arresting combination of minimal clarinet playing which enjoys thoughtful some exceptionally talented but clever scores for piano, strings and piano support. instrumentalists. woodwind flex the muscular power of The longest piece In nomine by The 19-piece anthology – pulled music which has all the impact of a full Raymond Warren (7:42) features some together over recent years by the eminent scale symphony orchestra. dreamy recorder playing with chirpy British recorder player, John Turner - is Here are finely-tuned and articulate piano accompaniment. Robert Saxton a fitting tribute to the outstanding contributions, particularly from the joins the memorial celebration with a Liverpudlian pianist and composer, the versatile clarinet of Linda Merrick, (she is charming two-minute contribution late John McCabe, who sadly passed away also principal of Manchester’s Royal appositely entitled, A Little Prelude for in 2015. It is a magnificent musical Northern College of Music). Impeccable John McCabe. monument in memory of a great man. finger-work from John Turner (recorders) This is small-scale but edifying Expressive compositions enshrine a and Alistair Vennart (viola) bring these music from 19 composers that are all well microcosmic world of many contrasts. small scores to life. Vibrant keyboard worthy of lauding the hallowed McCabe Moods of happiness, sadness, playing from the expert hands of Peter name. melancholy, humour and sheer mischief Lawson (piano) give constant successful - CHRIS BYE -14 - English flute, like you haven’t heard it before

IDYLL song. the heart of the piece. It is exceptionally The English Flute Unheard The sonatas by Robin Milford and intense and disturbing where the Stanley Bate are most welcome as they rhapsodic utterances of the flute are kept Stanley Bate, Norman Demuth, Cecil are significant additions to the flute tightly in check by the piano. The balance Armstrong Gibbs, George Henschel, repertoire, from two emotionally both tonally and emotionally between Robin Milford, Alfred Pratt, Cyril troubled composers who took their own the two players is finely managed. Rootham, Richard Walthew and John lives. Milford’s is the more English The works for solo flute by Demuth White. sounding of the two, demonstrating his and Salzedo show how hard it is to studies with Vaughan Williams and Holst. escape the shadow of Debussy’s ‘Syrinx’, James Dutton Flute The first movement is a dance like but they are both engaging and really do Oliver Davies Piano allegro with echoes of Baroque music. not deserve their neglect. The slow movement - the longest of the If I am allowed favourites they are MPR101 three - is a very fine impassioned the delightfully quirky gigue from the cantilena, which the performers here Armstrong Gibbs Suite, and the early his hugely enjoyable disc is aptly shape exceptionally well. The finale has ‘Duettino’ by John White, a composer subtitled ‘The English Flute syncopated echoes of Caribbean sunlight associated with more iconoclastic fayre. TUnheard’ including as it does a but there seem to be clouds on the The CD is beautifully presented with number of works by composers whose horizon. informative programme notes. The two works seldom see the light of day. The Although they had mostly the same soloists are perfectly in tune with the earliest presented is from 1907 and the teachers Bate’s Sonata is a very different repertoire which is recorded in a warm latest 1981. All follow traditional forms affair, reflective of his studies with acoustic at the Menuhin School. Do and harmony and none of the composers Boulanger and Hindemith. If the outer check out the website for some very would be considered experimental. movements seem workmanlike the interesting forthcoming releases. There is a distinct French feel to many of Sonata is worth its time alone for the - PAUL RW JACKSON the work as well as hints of English folk slow movement which like the Milford is Magnifica musica with an Elgar enigma

ELGAR Ms Barton Pine meets with great Elgar: Violin Concerto, Op 61 energy the exhaustive demands and Bruch Violin Concerto No 1, Op 26 technical difficulties that come from our beloved Elgar - a composer who always Rachel Barton Pine violin had a great affinity with the violin. Mr BBC Symphony Orchestra Litton coaxes some full-throated Andrew Litton conductor support from BBC players who show an exemplary understanding of Elgar’s AVIE 2375 magnificent score. Those hair-on-the- neck tutti certainly blaze out in a qui esta encerada el alma de….” fully-satisfying, Elgarian glory. So Edward Elgar scribbled in his This is highly expressive listening Abest Spanish at the head of the but throws no fresh light on yet another score of his dramatic, highly expressive, Elgar enigma! Violin Concerto. A rough English It may be said of this performance, translation is “herein is enshrined the Kennedy, Tasmin Little, Kyung-Wha in plain-speaking Spanish: soul of….” No name. This takes us no Chung, the historic Jascha Heifetz, MAGNIFICA MUSICA. BRAVO! nearer to resolving this particular Albert Sammons and many other top That hackneyed, well-worn gem, the Elgarian enigma. What exactly did he flight violinists, have tackled this difficult Bruch Violin Concerto, gets a refreshing, mean? Soul of whom? score and turned out memorable outing alongside the Elgar in this release. This curious dedication has never performances. The Bruch is shorter and sweeter. really been adequately explained. The latest version to join the Indeed, it is a more straightforward and Although unproven, theories abound plethora of excellent readings comes popular listen. That may be involving Elgar’s so-called ‘muse’, Alice from the highly-experienced American unequivocally said. Stuart-Wortley (the so-nicknamed soloist, Rachel Barton Pine, who is Bruch’s familiar and lovable ‘Windflower’). expertly accompanied by the BBC melodies are here delivered with great This fascinating concerto, which Symphony Orchestra under Andrew dash and aplomb. All in all, this adds up was first championed by an enthusiastic Litton. This release can undoubtedly to a wonderful release featuring some Yehudi Menuhin, has over the years has boast a distinct advantage of the vivid very accomplished violin playing. been executed by many other eminent clarity it is afforded by superior up-to- - CHRIS BYE interpreters. Big names such as Nigel the-minute record engineering.

-15 - Two takes on The Beatitudes

THE BEATITUDES the composer’s disappointment, bor - - SIR ARTHUR BLISS dering on sheer anger, when the can - Introduction and Allegro tata’s first public performance was God Save The Queen rather unceremoniously transferred four weeks beforehand, to be pre - Emily Birsan soprano miered at the less auspicious venue of Ben Johnson tenor Coventry’s theatre. BBC Symphony Orchestra Here, the newly composed Beati - Sir Andrew Davis conductor tudes, suffered from poorer acoustics and the large scale accommodation so Chandos SACD: CHSA 5191 necessary for a work of such huge pro - portions, employing a large orchestra, organ and choral forces. ince his death in 1975 the music After the predictable initial outcry of Sir Arthur Bliss has barely held this momentous piece was largely ig - Sits place in the concert hall. The nored. Now, more than 46 years later, efforts of his energetic and indefatiga - Sir Andrew Davis and the highly-pol - ble widow Trudy (who died in 2008 ished BBC Symphony Orchestra and aged 104) at the time of his centenary Chorus have stepped in with a record - in 1991 saw some rise in performances ing which to a degree redresses the but this did not last. This is a great pity balance, with a forceful performance since there is much to admire in Bliss’ supported by the Bliss Trust. output. Through his impeccable train - Expressive and beautiful breath ing he had a sure technique and his control from Emily Birsan (soprano) vivid, assured handling of large re - and Ben Johnson (tenor) give sublime Henry Vaughan, George Herbert and sources coupled with a wonderful renditions of the verse of George Her - Jeremy Taylor. The tone of the settings sense of drama can make his work bert. And there is a truly contempla - ranges from the sweetly supplicatory thrilling listening. It is good then that tive interpretation of the powerfully to the fiercely aggressive. The artists a large number are available on disc dramatic words of Dylan Thomas (And involved here give a splendid account and many on Chandos with their su - death shall have no dominion) to - of themselves, the soloists coping perb sound and to which this disc is a gether with some apposite biblical equally well with serenely calm lines as welcome addition. texts. well as some strikingly florid passages A number of works were commis - The BBC symphony chorus mas - elsewhere. The choir blends very well sioned to celebrate the consecration of ter, David Temple, adds to this record - with the orchestra and the organ the new Coventry Cathedral in 1962 ing with some animated but makes its presence felt not just in the but all were overshadowed by Britten’s disciplined vocal control. prelude, “A troubled world”, but also in extraordinary War Requiem. As a re - The BBC Symphony Orchestra the section “And the loftiness of man”. sult of the extra rehearsals needed for players live up to their distinguished Bliss's choral writing manages to be the Britten, Bliss’ cantata The Beati - reputation for faultless playing and the thoroughly English yet wholly personal tudes was moved to the entirely un - evergreen Sir Andrew Davis shepherds at the same time; it is never quite like suitable and cramped conditions of home every last note of Bliss’s distinc - anyone else's. the Belgrade Theatre. The Britten was tive Coventry cathedral calling. The fill-ups are the dynamic In - as we know a triumph and the Bliss A short but sweet example of this troduction and Allegro, and a late set - disappeared almost without trace, and British composer’s inimitable rhyth - ting of the National Anthem though I was not performed in Coventry Cathe - mic invention is well-illustrated in the wish they had included the neglected dral until 2012. Should anyone wish to charming orchestral tour-de-force of, The World is Charged with the hear the premiere it is available on the The Introduction and Allegro. It is Grandeur of God instead. Dutton label and there is also an off- dazzlingly scored for full orchestra - PAUL RW JACKSON air recording available on Lyrita from and makes an interesting bedfellow. the BBC Proms, both conducted by the Perhaps an appropriate conclu - ir Arthur Bliss’s magnificent composer. This recording knocks both sion to this fascinating release is Sir Cantata, ‘The Beatitudes’, is a into the long grass. Arthur’s very own arrangement of our grandiose piece of historic Christopher Hassall's text inter - S National Anthem, God Save the Queen. British music first written in 1961 to leaves Christ's words from the Sermon Here an irresistible brand of national reflect the majesty and splendour of on the Mount with a brief passage pride is well trumpeted, boasting the opening of the newly consecrated from the Old Testament Book of Isaiah singing of conviction which is heartily Coventry Cathedral. and verses by Dylan Thomas and three backed by swirling string and stirring It is not too difficult to imagine 17th-century metaphysical writers, brass phrases. - CHRIS BYE

-16- Tippett scrubs up well with magical music bars

SIR MICHAEL TIPPETT distinctive Tippett symphonies leave the Symphonies 1 & 2 listener with no doubts about the depth of the composer’s rare talent. BBC Scottish Symphony Orchestra These complex scores expose the Martyn Brabbins conductor magnificent orchestral technique behind Tippett’s searching music. Deep HYPERION CDA68203 listening brings great riches. The BBC Scottish Symphony players revel in Wormwood Scrubs prison Tippett’s individualistic music. sentence would hardly be Michael Tippett was no stranger to Aregarded by many classical music controversy throughout a tough career, enthusiasts as a path to glory. Yet an but this recording will convert any incarceration in this notorious prison lingering doubters. played an influential part in the making Igor Stravinsky and the German, of one of Britain’s greatest classical Paul Hindemith, were two of the composers, Michael Tippett (1905-1998). conductor, Sir Malcolm Sargent, and composer’s main influences. In these The grim bars of imprisonment established a highly successful career in highly-charged interpretations, I can certainly helped to stimulate magical creating noteworthy music. also detect some inescapable hints of music bars that have gripped artistic Two heavyweights of the concert Jean Sibelius. ears worldwide ever since. Tippett saw hall and recording business, Vernon One of Tippett’s esteemed his servitude at this infamous institution Handley and Richard Hickox, proved contemporaries, Vaughan Williams as a test of his philosophical mettle and successful Tippett champions over the mixed praise with disdain when he said: musical devotion. He directed the prison years. Now the ebullient Martyn “I think Mr Tippett’s views as a pacifist orchestra and took a courageous and Brabbins carries the same bright Tippett are entirely wrong, but respect him very positive view of his conviction as a torch. much for holding them so firmly”. conscientious objector during the In this crisply recorded Hyperion One thing is for certain: Michael second world war. release Brabbins conjures up every last Tippett was definitely his own man. Of This indefatigable composer also note of some committed BBC Scottish that, Martyn Brabbins leaves us in no defied vehement anti-composing advice Symphony Orchestra playing. Handsome doubt. of both his father and the esteemed performances of the first two of the four - CHRIS BYE A sizzling final movement for Walton’s muse

WILLIAM WALTON well-known it was an adapted Viola Concerto arrangement of the String Quartet of Partita for Orchestra 1945-7 done in collaboration with Sonata for String Orchestra Malcolm Arnold, in response to a request from Neville Marriner for a new work for James Ehnes viola his Academy of St-Martin-in-the-Fields. BBC Symphony Orchestra Walton was reluctant to accept this Edward Gardner conductor commission so the idea of re-creating the quartet for larger forces emerged CHSA 5210 and was achieved with conspicuous success. At the time of the quartet’s nyone who has already acquired composition Alice Wimborne, Walton’s the same team’s recordings of the muse, mistress and mother-figure had Asymphonies and other concertos been diagnosed with the cancer that was is not going to need any further to kill her, and Walton’s anguish and fiery recommendation for this new issue. emerge with the clarity evident in other anger are here most potently expressed, These are state-of-the-art productions recordings (including that from Chandos and none more so than in the sizzling of the finest quality. Edward Gardner (Nabuko Imai, Latham-Koenig). final movement. has a very clear-sighted view of all these The lyric elements in this splendid The Partita is, I suggest, one of works, and the soloist in the concerto score are projected with eloquence. This Walton's less interesting works. James Ehnes is in excellent form. aspect of Walton’s art was to find its Famously he wrote it to be 'enjoyed Even so, I have one tiny quibble. The finest expression in the later violin straight off', but the incentive here would viola is one of the most retiring of concerto. The more angst-filled have been the doubtless substantial fee instruments and I felt that at times I moments so characteristic of the age are from George Szell and the Cleveland would have preferred his contribution to unfailingly captured with ideal pacing. Orchestra, and I think it shows. be balanced little more forwardly. For I have always felt that the Sonata for - GEOFFREY ATKINSON instance at the very beginning of the String Orchestra is one of Walton’s most concerto, the viola’s line does not outstanding achievements. As is quite

-17- CD REVIEWS Jane Eyre is Joubert’s ripe source of inspiration

JOHN JOUBERT including the chocolatey smooth bass of Jane Eyre David Stout, the most engaging performance comes in Act 2 Scene 2 with April Fredrick Jane Eyre the arrival of the Reverend St John Rivers, David Stout Rochester given here by tenor Mark Milhofer, whose Gwion Thomas Brocklehurst reading of the pious missionary offers Mark Milhofer St.John Rivers wonderful singing and emotional intensity. English Symphony Orchestra Of particular interest is the inclusion Kenneth Woods conductor on CD2 of a 17-minute interview with John Joubert, in which he elucidates the SOMMCD 263-2 development and principal features of Jane Eyre, including its structural links to ince its publication in 1847, nineteenth-century Italian opera. Charlotte Brontë’s Jane Eyre has This recording is a valuable and Sbeen subject to many adaptions. Joubert’s orchestration, as well as his important addition to the discography of From silent films (appearing as early at sense of musical and dramatic flow, is twentieth-century British opera, and will 1910), radio plays, ballets, and theatrical very fine, and though it might no doubt serve future audiences and adaptions including at least two operas occasionally lead one to make scholars in highlighting not only the (by John Joubert and Michael Berkeley), Brittenesque comparisons, this is a breadth and wealth of British operas, but twentieth and twenty-first century valuable score that has been expertly also in presenting an important portrait creators have found in Jane Eyre a navigated by the English Symphony of a composer more familiar these days consistently ripe source of inspiration. Orchestra and conductor Kenneth for his choral works, and music that In the present opera, John Joubert Woods. deserves to be readdressed by major and Kenneth Birkin’s adaption is a The cast are an altogether very well orchestras. success, and a model of ideal literary assembled group. In the title role, April [Aside: Regular visitors to the RNCM surgery in selecting what must stay in Fredrick gives a very good performance may be aware that behind the College is and what must be cut in order to present that delivers excellent emotional and a popular pub: The Salutation. It was here both a palatable evening at the opera, vocal control – an admirable feat when that in 1844, Charlotte Brontë began whilst being faithful to the original one considers that she appears in every writing Jane Eyre whilst visiting storyline. scene. In a super cast of supporting roles, Manchester.] - ANDREW KING

A live broadcast from 1936 for Alfredo Casella

JOHN IRELAND Largamente is smoothly attractive. performance while the 1946 version has Alfredo CASELLA I found some problems with more of the quality of a sepia print. That Ireland’s Piano Concerto, not so much has its own special attractions. It is a Ireland with the piano soloist Annarosa Taddei fascinating performance but not one by Piano Concerto / Cello Sonata whose performance is marked by a which the Concerto itself should be Casella special dramatic intensity with again a judged. Triple Concerto gentler middle movement which is The Triple Concerto by Casella in warmly romantic. Partly due to this which the composer himself is the FHR REMASTERS FHR63 being a mono recording, there is a sense pianist, is from a live broadcast in 1936 of distance between the orchestra and thus ten years earlier than the Ireland f the three works on this CD, the the piano, causing some of the Concerto but it works better. I managed most successful is John Ireland’s instruments to sound a bit antique even to find a more modern recording of the OSonata for Cello and Piano. The though the recording was made relatively Triple Concerto but quite frankly the FHR cellist is Antoni Sala (1893 – 1945) the late, in 1946. Interplay between piano and one was superior for both the quality and pianist, the composer himself. Both orchestra is thus limited in its impact. clarity of the three soloists. It is of course instruments come through with One of the finest early recordings of this marvellous to hear performances so near exemplary clarity in this recording and work was made in 1963 [This recording in time to when these works were the instruments are perfectly well was in fact issued as HMV CLP1182 in 1958 composed and in two cases, with the balanced. There is a passionate rawness ed.]. The pianist was Colin Horsley with composers taking part in the to much of the performance which is the Royal Philharmonic Orchestra performances. That has to be really thoroughly bracing to hear. The gentler conducted by Basil Cameron. The special. music of the middle movement Poco Concerto is three dimensional in this - ALAN COOPER

-18- A sacred space for Hammond’s take on Saxton

ROBERT SAXTON In the memorable words of that great Piano Music 20th century keyboard master, the late Glenn Gould: “One does not play the Clare Hammond piano piano with one’s fingers, one plays the piano with one’s mind.” Toccata Classics TOCC 0458 There is ample evidence of this surreal approach coming from Clare lare Hammond’s gratifying Hammond during this electrifying penchant for contemporary recording. There is a bravura and Ckeyboard works is convincingly reassuring technique, together with displayed here in a compelling collection character and finesse, on show here. of piano pieces by Robert Saxton. Robert Saxton’s textures and Saxton’s highly-engaging keyboard wonderful atmospheres are delivered compositions are captured with real through an urgent virility and clear finger panache. The release opens with a work. Incandescent playing sparkles gripping interpretation of the without ever becoming brutal. This is a atmospheric sonata Chacony for left Ms Hammond is professionally well- strongly characterized reading featuring hand, delivered with some impressive travelled and enjoys a wide-ranging solo a sensual touch. phrasing. experience which belies her years. A vivid recording concludes with a A commanding and authoritative Forceful and versatile keyboard playing, short but sweet piece entitled Lullaby for version of Saxton’s Piano Sonata is ranging from the gentlest of pianissimos Rosa. followed by an expressive sequence of l2 to the thunderous rigour and vigour of a Clare Hammond is clearly a short pieces entitled Hortus Musicae full forte, shows how much her forward-thinking pianist of note. She is a (Garden of Music), Books 1 and 2. These ambassadorial soloist talent is much former winner of the Royal Philharmonic are colourful piano pictures, inspired by sought after. Society’s Young Artist of the Year Award the works of Marvell, Auden and Proust A penetrative insight and in recognition of outstanding among others, and have the benefit of a outstanding fingering certainly pay achievements. clear, well-rounded sound. The dividends in these interpretations of Certainly, a name to keep your ears composer said they were meant to invoke scores conceived by Britain’s highly- on in the future! “a sacred space”. respected composer, Robert Saxton. - CHRIS BYE Tovey’s chamber music is an interesting offer

SIR DONALD TOVEY Gallic suavity is the order of the day. The quintet’s four movements offer Chamber Music, Volume Two There are six variations in all, and the ample contrasts of mood, which the listener is guided by the accompanying otherwise accomplished performance by Variations on a Theme by Gluck / Piano liner notes’ reproduction of Tovey’s own the Ormesby Ensemble doesn’t always Quintet detailed programme note, complete with capture to the full. The opening Allegro musical examples. maestoso takes a while to catch fire and Ormeby Ensemble The Variations, however, are a mere even then tends to avoid the real aperitif to the main course here, Tovey’s incandescence the music demands, and TOCCATA CLASSICS TOCC 0266 Piano quintet of 1900. We tend to forget the Largo appassionato, despite some that Tovey was a skilled concert pianist; delicate playing in the quieter moments ovey was a committed advocate for he played the piano part in the quintet at often tempers the passion the tempo Gluck’s music, spurred on by a its première in November 1900. The direction implies with a rather English Tprevailing critique which viewed whole work, at some fifty-five minute’s reserve. The slightly distanced recording him as one of what Tovey himself dubbed length, is an ambitious undertaking for a doesn’t help either. Such observations “important historical figures”, more composer still in his mid-twenties. As notwithstanding, in the quintet’s more honoured in print than performance. one of the earliest British works in the subdued moments the Ensemble plays His own Variations on a theme of Gluck, medium, the indebtedness to German with a real feel for the music’s lyrical written in 1913, were intended for the models, and Brahms in particular, is qualities. French flautist Louis Fleury, for whom something of a given, but has the effect of This is a welcome contribution to a the theme – the Sicilienne from Gluck’s playing to Tovey’s strengths, not least his growing evaluation of British chamber Armide – was a popular concert item. mastery of counterpoint. If it sometimes music at the end of the long 19th century. The dedication, together with more than leads him towards allowing his The CD comes with copious liner notes a passing glance towards Fauré’s development sections to become by Peter Shore. One would perhaps have classicising Sicilienne, goes some way to intoxicated with their own contrapuntal liked a little more space between the justifying the German-leaning Tovey’s ingenuity – notably in the final movement tracks, but this this is a small price to pay attempt to speak in a French accent. – then one can still marvel at the display for so much interesting music. Flautist Sarah Brooke captures it of harmonic and rhythmic invention - GEOFF THOMASON beautifully, in a performance where elsewhere. -19- BOOK REVIEWS

The story of Wilfred Brown

WILFRED BROWN: AT THE and his many live and broadcast recitals their existence: “Whenever I look at an CROSSROADS OF HUMAN frequently included music by such audience … I recall that I am not there to EXPERIENCE English contemporaries as Denis ApIvor, express myself or to impress others by Robin Milford, and Stephen Dodgson. He making noises. … It is … my duty to stand by Stephen Duncan Johnston. was perhaps even better known to radio … at the crossroads of human experience, listeners for his many contributions to assimilating all that I observe, so that the EM Publishing 2017 such religious programmes as “Five to quintessence of any emotion may vii+318 pages Ten” and “The Silver Lining”. irradiate my voice as I sing of it and my Of Surrey farming stock, Brown’s listeners thrill to this as being the ISBN978-0-9572942-2-6 grandfather was one of many of his articulation of something within generation to leave the land for industry, themselves”. ike many lovers of English music, in his case to become a railwayman. A It is little wonder that “Bill” Brown my introduction to the singing of town boy who always loved the country, was universally loved by colleagues and LWilfred Brown had been his Brown was also academically gifted, audiences, as Dame Janet Baker’s definitive recording of Gerald Finzi’s especially in languages, winning a eloquent foreword conveys so well. Also “Dies Natalis”. It is typical of this book’s scholarship to Christ’s Hospital, enlightening us, inter alia, about Brown’s quality that the whole story of how this Horsham, where his musical abilities also gifts as a comic versifier, an ornithologist, seminal recording came to be made is so shone. Study at Sidney Sussex College, and as a loving husband and father, this clearly and succinctly revealed. Cambridge was interrupted by the is an excellent biography of a great artist, This recording was surrounded by madness of World War Two, during which whose posthumous reputation deserves other performances and recordings of his strong Quaker convictions saw him to be of the highest. The volume is the highest calibre, during a fascinating involved in the Friends’ War Relief beautifully produced, well-illustrated career tragically cut short by illness. Service. His conscientious objection was and comprehensively indexed. I Brown’s recorded legacy ranges from imbued with remarkable philosophical recommend it most highly. Dowland to Britten, with several discs and intellectual fervour. Few performers - NICHOLAS CLAPTON from his years with the Deller Consort, have stated better the essential reason for

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