TONE POEMS Bliss • Cowen • Fogg • Foulds • Goossens Hadley • Howell • Vaughan Williams VOLUME 2
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BRITISH TONE POEMS Bliss • Cowen • Fogg • Foulds • Goossens Hadley • Howell • Vaughan Williams VOLUME 2 RUMON GAMBA Lewis Foreman Collection Foreman Lewis John Herbert Foulds British Tone Poems, Volume 2 John Herbert Foulds (1880 – 1939) 1 April-England, Op. 48 No. 1 (1926, orchestrated 1932) 8:15 for Orchestra Tempo comodo ma con gaiezza – Calmo ma non trattenuto – Tempo giusto, non agitato – Allargando grandioso – Solenne – Tempo del comincio – A tempo brillante possibile Eric Fogg (1903 – 1939) 2 Merok (1929) 8:40 (Geiranger) Molto lento e tranquillo – Moderato – Tempo commodo poco rubato – Molto lento – Poco animato – Molto lento – Poco più mosso e misterioso 3 Sir Eugene Goossens (1893 – 1962) 3 By the Tarn, Op. 15 No. 1 (1916) 4:48 A Sketch for String Orchestra (with Clarinet ad libitum) after the first of Two Sketches for String Quartet Andante tranquillo Ralph Vaughan Williams (1872 – 1958) 4 Harnham Down (1904 – 07) 8:35 Impression for Orchestra Andante sostenuto – Più lento – Andantino – Tranquillo – A tempo [Andantino] – Tempo del comincio [Andante sostenuto] – Più lento 4 Dorothy Howell (1898 – 1982) 5 Lamia (1918) 14:27 Symphonic Poem for Full Orchestra To Sir Henry Wood Lento – Andante maestoso – Largamente – Tranquillo – Presto – Tempo giusto – Prestissimo – Tempo I – Lento Sir Frederic Hymen Cowen (1852 – 1935) premiere recording 6 Rêverie (1903) 6:22 for Orchestra Andante molto sostenuto – Poco allegro – Tempo I Patrick Hadley (1899 – 1973) premiere recording 7 Kinder Scout (1923) 6:51 Sketch for Orchestra = 60 – = 60 – = 60 – = 90 5 Sir Arthur Bliss (1891 – 1975) 8 Mêlée fantasque (1921, revised 1937) 11:16 Dedicated to the memory of Claude Lovat Fraser, a great and lovable artist Allegro moderato – Allegro molto energico – Moderato sostenuto – Più mosso – Più animato – A tempo ma tranquillo – Allegro molto energico – A tempo meno mosso – A tempo ma tranquillo – Allegro moderato – A tempo, molto meno mosso TT 70:16 BBC Philharmonic Yuri Torchinsky leader Rumon Gamba 6 British Tone Poems Volume 2 Sir Frederic Hymen Cowen: Rêverie of the Italian Opera at Her Majesty’s Theatre. British music in the last quarter of the When he was a child his musical gifts were nineteenth century was dominated, until encouraged by the best teachers and he was the emergence of Sir Edward Elgar, by five given every opportunity to play with leading composers: Sir Charles Stanford, Sir Hubert musicians of the day. As a wunderkind he first Parry, Sir Alexander Mackenzie, Sir Arthur appeared in public aged ten, and he played Sullivan, and Sir Frederic Cowen. Sullivan long Mendelssohn’s D minor Piano Concerto when survived as the composer of the Savoy operas; he was twelve. He met Liszt and Brahms Parry and Stanford are remembered for their and was launched on a career as a piano church music, having enjoyed a growing virtuoso in his teens. He emerged as one of number of revivals over the last twenty years or the leading British conductors of his day and so. Mackenzie, too, has been heard again, and was appointed the regular conductor of the his Scottish Piano Concerto, Violin Concerto, Philharmonic Society in 1888. He achieved and many orchestral works have now been some celebrity, also in 1888, when he was recorded. But the once popular and widely appointed conductor of the Melbourne played music by Sir Frederic Hymen Cowen Centennial Exhibition for the unheard fee of (1852 – 1935) has largely remained unheard, £5,000. silenced by that sudden dramatic change of The short Rêverie appeared in 1903 and aesthetic and idiom that occurred after the was published that year by Novello, in full First World War. Cowen wrote six symphonies, score and orchestral parts, which means operas, many popular short orchestral pieces, that, as a light music encore, it would and songs and choral works; the latter were probably have been acquired by the many widely heard at choral festivals but still await local orchestras then extant, a time when modern performances. ownership of score and parts brought with Cowen had the good fortune to be it performance rights. It was also published the son of the private secretary to the in a version for violin and piano but acquired Earl of Dudley who was also the Treasurer the misleading reputation of being a piece for 7 violin and orchestra and has been forgotten Here will I sit and wait since the First World War. It consists of a While to my ear from uplands far away dreaming, constantly elaborating melodic The bleating of the folded flocks is borne line, presented entirely by the violins, often With distant cries of reapers in the corn – in octaves, in a varying orchestral texture. All the live murmurs of a summer’s day. A new idea briefly arises at the start of the At this time Vaughan Williams was also middle section, before the opening returns. working on an extended setting of Arnold’s A wraith of the middle section reappears to poem The Future, which, although having form the short coda. almost completed it in piano score, he ultimately abandoned – Walt Whitman Ralph Vaughan Williams: Harnham Down beckoned! For many years after the death of Ralph The Wiltshire countryside that Vaughan Vaughan Williams (1872 – 1958) his estate Williams was evoking in this exquisite prohibited the performance of earlier works pastoral scene is more smiling than that which the composer had withdrawn but not which his friend Gustav Holst would later destroyed. Now that we are able to explore represent in his musical evocation, further this music, we have enormously expanded our west in Dorset, of Egdon Heath. Harnham understanding of Vaughan Williams and his is now a country suburb of Salisbury and development, and in the process some lovely Constable’s paintings Harnham Hill, Salisbury works have been returned to performance. or Salisbury Cathedral – a view from the Harnham Down, begun in 1904 and subtitled water meadows will give us some idea of an ‘impression for orchestra’, received one the countryside that Vaughan Williams had performance, at Queen’s Hall in November in mind. It is interesting to find Salisbury 1907, when the conductor was the Austrian the subject in such an early work of the composer and conductor Emil von Reznicek, composer. It would feature again, more now only remembered for his joyous Overture grimly, in the underlying association of one to the opera Donna Diana. of his last works, the Ninth Symphony, with Vaughan Williams prefaces his score Tess of the d’Urbervilles. with a stanza from Matthew Arnold’s poem Vaughan Williams withdrew Harnham ‘The Scholar Gypsy’, which many years later he Down, yet when we hear it now, more than would give to the orator in his An Oxford Elegy: one hundred years later, what strikes us 8 most are the composer’s fingerprints, already performed her 1918 symphonic poem Lamia recognisable: the spacing of the string at Queen’s Hall during the 1919 Promenade orchestra in its early entry, the woodwind Concerts it caused such a sensation that, solos, and the poetic fade-out at the end. in an age before broadcasting or effective recording, Wood repeated it three days later, Sir Eugene Goossens: By the Tarn, Op. 15 No. 1 and continued to champion it during his Sir Eugene Goossens (1893 – 1962) failed his career. Published by Novello, it quickly went army medical at the time of the First World War, round the country, attracting enthusiastic and thus, on the grounds of a heart irregularity, notices. Dan Godfrey programmed it twice at he was free to pursue his musical career Bournemouth. The tone of some of the press in London. Not only was he a violinist and coverage was amazement that a young girl composer, but he became established during had produced such a finished score. One critic the war as a conductor when Sir Thomas actually reported asking her RAM teacher, John Beecham recruited him to conduct much of his McEwen, if she had really written it all herself, Beecham Opera Company season, on tour and and was assured that she had! The papers in London. named her ‘the English Strauss’. He originally wrote what became the The outline of the plot of Keats’s poem, miniature tone poem By the Tarn for the which inspired the piece, is apparent in the Philharmonic String Quartet (as the first of music, which falls into four sections. Keats Two Sketches) and in this form it was heard in sets the story in ‘a forest on the shores of London in April 1916. Soon arranged for strings Crete’ where Lamia has been imprisoned in with clarinet and performed in a London hotel the form of in January 1917, it was repeated during a a palpitating snake... a gordion shape of Philharmonic Society concert in April 1919. dazzling hue, vermilion-spotted, golden, green, and blue. Dorothy Howell: Lamia Yet although ‘Her head was serpent’... Dorothy Howell (1898 – 1982) was accepted She had a woman’s mouth... And for her as a pupil by the Royal Academy of Music eyes: what could such eyes do there... that at the age of fifteen, before which she had were born so fair? been a private composition pupil of Granville The god Hermes allows her to regain human Bantock in Birmingham. When Sir Henry Wood shape, ‘more beautiful than ever’. 9 She calls the name of her Corinthian lover, in 1921, was dedicated to the memory of his Lycius, and the music moves into the second friend Claude Lovat Fraser, painter and stage part, evoking a love duet between Lamia and designer, who had died at thirty-two. In a Lycius, its oboe solo ‘love theme’ quickly note to the revised versions of 1937 and 1965 moving to an orchestral climax.