Clarion Call Music for Septet and Octet

John Casken • Howard Ferguson • Michael Berkeley • Charles Wood

Berkeley Ensemble RES10127 Clarion Call Works for Septet and Octet

Michael Berkeley (b. 1948) 1. Clarion Call and Gallop (2013) * [6:42]

Berkeley Ensemble Howard Ferguson (1908-1999) Octet, Op. 4 (1933) 2. Moderato [5:34] 2-6 Kathryn Riley violin 3. Allegro scherzoso [3:52] 4. Andantino [5:14] Sophie Mather violin 5. Allegro feroce [6:01] Dan Shilladay viola John Casken (b. 1949) Gemma Wareham cello 6. Blue Medusa (2000/2007) * [10:09] double bass Lachlan Radford Charles Wood (1866-1926) John Slack clarinet Septet (1889) * 7. Allegro moderato [12:10] Andrew Watson bassoon 8. Andante [8:20] Paul Cott horn 9. Scherzo [6:05] 10. With vigour [12:08] About Berkeley Ensemble:

‘This talented group [...] is named after Sir Lennox Berkeley and his son Total playing time [76:15] Michael, and it champions music by them plus that of other British composers which in their view is unjustly neglected. [...] A stimulating evening.’ The Independent * world premiere recordings

‘The refined playing had an impressive sense of style’ Leicester Mercury Echoes of Beethoven first intake of scholars at the newly instituted Royal College of Music (RCM) where he studied ‘That damned thing! I wish it were burned!’ composition with Charles Villiers Stanford, Thus Beethoven referred, with typical one of the principal architects of the so-called bluntness, to his own youthful Septet, the English Musical Renaissance. Born to a tenor continuing popularity of which he felt to in the choir of Armagh’s Church of Ireland be overshadowing his subsequent work. cathedral, and later a boy treble at the same Later composers would also feel its church, it was perhaps inevitable that Wood influence, although their responses to it would be remembered almost solely for his were often more eloquent. Foremost liturgical music. In a career that closely amongst them was Schubert, whose Octet mirrored Stanford’s, Wood taught harmony was reputedly commissioned by Ferdinand at both the RCM and later Cambridge, where Troyer, the clarinettist who premiered he continued his studies as an organ scholar Beethoven’s piece. Schubert added a in 1888 and eventually succeeded his teacher violin to Beethoven’s ensemble, but in as professor following Stanford’s death in broad outline followed – and also perhaps 1924. outdid – his model. Upon Wood’s own death two years later, an The early-nineteenth century saw a brief anonymous author writing in the RCM period of interest in such large-scale Magazine recalled the student composer’s chamber music with works by Kreutzer, deep regard for the music of Beethoven, Spohr and others aimed squarely at the which was apparently called upon by the kind of popular success that had so then college principal, George Grove, during irritated Beethoven. None, however, work on his celebrated book, Beethoven achieved a significant place in the repertoire and his Nine Symphonies. Following in his and Beethoven and Schubert’s works hero’s footsteps, Wood completed eight remained isolated examples of their string quartets at a time when the form type until the twentieth century, when was largely neglected by British composers, Berkeley Ensemble composers would again look to harness and a septet upon Beethoven’s instrumental (Photography: Nigel Luckhurst) their appeal with pieces of their own for plan. the same ensembles. The larger work dates from 1889, by which In 1883 Charles Wood was amongst the time Wood had completed his studies at the RCM and enrolled as an undergraduate The third and fourth movements again hint at Cambridge. As well as following at Wood’s fondness for folk-inflected Beethoven’s instrumentation, Wood melodies. Whilst the scherzo is the most similarly casts the violin in a concertante straightforward of the four, following the role within the ensemble. However, Wood’s classical pattern closely, the finale illustrates piece is written to a more conventional Wood’s frequently ingenious approach to four-movement plan rather than issues of form. Its theme is carefully Beethoven’s divertimento-like six. The first constructed so as to hover between duple is a sonata allegro set out on a large scale. and triple metres, and the variations that Following the prevailing fashion of the follow exploit this ambiguity fully. Following time, the music sounds a consciously an extended variation for clarinet and Brahmsian note, both in its melodic strings alone, the triple time version makes materials and their treatment. Themes a decisive and extended appearance to are closely related and continually form a significant coda which, despite developed; even the unassuming tread further Brahmsian touches, ends in a mood of the cello and bass at the opening is of playful repose unmistakably Wood’s own. constantly reworked throughout the movement, to re-emerge triumphant Such was Brahms’ standing in Britain at the at the coda with the horn’s final heroic turn of the twentieth century that Stanford declamation. (arguably unsuccessfully) challenged his pupils to write pieces that bore no trace Despite the antiquarian austerity of much of the elder composer. When Howard of his church music, Wood retained a Ferguson came to write his Octet in 1933, life-long interest in the folk culture of his this influence, although now questioned native Ireland, and in 1904 he co-founded by some, was still widespread. Ferguson the Irish Folk Song Society in London. defended a cherished ‘Brahmsian bit’ of the These activities left their mark on much work in a letter to a disapproving colleague, of his secular music, and in the Septet this although taken as a whole, the piece owed is most clearly heard in the second more to the elder composer’s ethos and movement. It contrasts two themes, the techniques, rather than his sound world. first meandering yet gracious, the second more purposeful, Gaelic-tinted. Ferguson was a famously meticulous composer, and work on his Octet took a typically considered and circuitous route. a half-lit world of spidery counterpoint and The piece was originally planned as a clarinet bittersweet, sometimes bi-tonal harmony. quintet, but following the advice of R.O. Morris, Ferguson’s erstwhile teacher and After the uneasy close of the opening the work’s eventual dedicatee, it was movement, the second takes the form of a re-scored for the same group of instruments brightly-lit scherzo. Like Wood, Ferguson – as required by Schubert’s Octet, thereby an Irish-born composer who spent his guaranteeing it a life as a companion to working life in London and Cambridge – the frequently-performed masterwork. alludes to Irish folk music with the two Although prudent given the young violins required to play the lively theme in composer’s relative obscurity at the time, unison. Although it continues to develop the piece quickly succeeded on it’s own previously heard material, the effect is of merits, a favourable review of the premiere complete contrast with the foregoing music. in The Times leading to a contract with the publisher Boosey & Hawkes. As he assisted The finale follows a pastoral movement that with the work’s editing prior to printing, comes close to the music of Vaughan Williams, Gerald Finzi later wrote to the composer another of Ferguson’s teachers at the RCM. ‘[…] the first movement, I think it’s absolutely It unleashes the energies latent in the perfect, and without flattery, I think it’s preceding movements in a demonic more likely that the Schubert Octet will be tarantella, the rhythm of which, cycled stuck-in to be played with yours rather continuously and mesmerically around than the other way round, as you originally the winds, underpins a central, more lyrical intended.’ section. Ferguson greatly admired Edward Elgar, and the final backward glance at the Fittingly, considering its origins, the piece horn’s theme from the opening movement opens with a theme perfectly conceived recalls the one of his favourite devices. for the clarinet. Ferguson marks its first Redolent too is the mood of nostalgia that appearance as slightly held-back (’poco hovers over the passage, before a return meno’) before the music surges forward of the tarantella leads to a triumphal to the first of several climaxes. The horn conclusion. announces the principal second theme, and the remainder of the movement John Casken’s Blue Medusa is also scored is derived from these two ideas, inhabiting for the performing group of Schubert’s Octet. In relation to its predecessor, however, the material with a more pensive, lilting idea. A recalling the tarantella finale from the piece turns the instrumentation inside out, central accompanied cadenza leads to further Sinfonietta of Berkeley’s godfather, Benjamin featuring a solo part for one of Schubert’s turbulent development before a calmer reprise Britten. most retiring participants. Originally a piece of the main elements and a final sting in the for bassoon and piano, Casken re-scored tail. Writing to offer the Septet to his publisher, the work for chamber ensemble as an Beethoven drew attention to a noteworthy alternative, complementary version. Written specially for the Berkeley Ensemble, feature of its scoring: ‘A septet per il violino, Michael Berkeley’s Clarion Call and Gallop was viola, violoncello, contra basso, clarinet, In common with much of Casken’s music, completed during the composer’s residence corno, fagotto – tutti obbligati (I cannot Blue Medusa draws inspiration from both at the Trasimeno Music Festival, Italy, in 2013. write anything that is not obbligato, for I the natural and mythical worlds. In the Whilst it is tempting, and not entirely came into the world to obbligato composer’s own words: misguided, to hear echoes of the work’s accompaniment.)’ Despite the years festive and sunny birthplace in the largely separating Beethoven's work from these Medusa: creature of the sea, beautiful in form buoyant and high-spirited music, melodic that followed, his example has held sway in and movement, but dangerous to the touch. elements of the piece are actually based on that each uses its large performing forces Medusa: one of the three Gorgons, her hair a material taken from Berkeley’s anthem, Listen, to the full, even those where the original crown of writhing snakes, whose gaze turned Listen, O My Child, which was commissioned conception was a smaller work. The men and beasts to stone, and from whose for the enthronement of the 105th Archbishop famous piano-vandal would surely approve neck sprang the winged horse Pegasus when of Canterbury, the Most Reverend and Right of the diverse range of colours and effects Perseus cut off her head with a single sweep Honourable Justin Welby. that later composers have wrung from of his sword. his original ensemble. It is a line-up that Blue Medusa: a creation, aquamarine, with The opening clarion call, using the anthem’s has proved surprisingly adaptable. an energetic sting; a creation, nearing the leitmotif, quickly gives way, via tumbling surface, winging upwards. figurations, to the gallop. Although initially © 2014 Dan Shilladay well-behaved, instrumental high jinx invade, The bassoon leads the discourse throughout, most notably from the clarinet, which for the rest of the ensemble trailing countless the first portion of the piece uses the jellyfish’s tentacles of teeming, seething raucous and high-pitched E-flat instrument. activity beneath it. Despite being cast in a dense – although eloquent – post-tonal After a brief return of the clarion call, the language, the piece broadly follows a anthem material makes its most extended traditional and viscerally effective dialectic appearance before one final, frantic gallop arch, contrasting the propulsive opening to the finish, led by the viola and this time Berkeley Ensemble with leading young guest artists. Equally at home on the summer festival circuit as in The Berkeley Ensemble takes its name from the concert hall, the group has performed two British composers of the last hundred at the Latitude and Greenbelt festivals. In years, father and son Sir Lennox and Michael 2012 the opening concert of Stealing, Berkeley. It was formed in 2008 by members Borrowing, Remembering, its series exploring of Southbank Sinfonia, Britain’s young the links between composers Igor Stravinsky professional orchestra, with the aim of and Lennox Berkeley, was awarded a four-star exploring the wealth of little-known review in The Independent. twentieth- and twenty-first century British chamber music alongside more established Taking its music to new audiences, most repertoire. It now enjoys a busy concert importantly through education, is central schedule performing throughout the UK to the ensemble’s activities. Its work in and abroad, and is also much in demand this area includes self-directed projects for its inspiring work in education. in addition to collaborations with Southbank Sinfonia, Merton Music Finalists in the 2009 Royal Over-Seas Foundation and Pan Concerts for Children. League competition and selected by The ensemble regularly coaches students Making Music for the Concert Promoters’ in chamber performance at the University Network in 2010 and 2013, the ensemble of York, is ensemble-in-residence at has performed with leading musicians Queen Elizabeth School in Cumbria and including Sir Thomas Allen, Richard Sisson runs an annual residential chamber music and Gabriel Prokofiev. The group is an course in Somerset. enthusiastic champion of new music and has worked with composers John Casken www.berkeleyensemble.co.uk and Robin Holloway. It was proud to premier its first commission, Michael Berkeley’s Clarion Call and Gallop, in 2013. Berkeley Ensemble The ensemble is rapidly building a reputation (Photography: Nigel Luckhurst) for innovative and thought-provoking programming, aided by its flexible configuration and regular collaboration More titles from Resonus Classics Berkeley Ensemble gratefully acknowledges the following people and organisations who have made this recording possible: Gerald Finzi: By Footpath and Stile Marcus Farnsworth (baritone), Robert Plane (clarinet) Ruth Bolister (oboe) & Finzi Quartet Michael Bryant RES10109 Libby Burgess Stephen and Cherry Large ‘This is a must for Finzi fans’ The Parish Church of SS Peter & Paul, Chacombe The Strad

Trustees: Michael Berkeley CBE Simon Over Richard Sisson Mark-Anthony Turnage: A Constant Obsession Jan Smith Nicky Spence (tenor), Chamber Domaine Thomas Kemp (conductor) The ensemble is generously supported by: RES10106 Jane and Stephen Ainger Katherine Arnold and Adrian Harris ‘Nicky Spence flatters the tenor lines, while the Gavin Compton musicians of Chamber Domaine capture the moody luminosity of the instrumental score’ Valerie Cott The Financial Times Hannah Horsburgh Dr Harold Hughes OBE and Mrs Elizabeth Hughes John Lakey Simon Over © 2014 Resonus Limited è 2014 Resonus Limited David and Brenda Shilladay Recorded in the Church of SS Peter & Paul, Chacombe on 24-27 July 2013 Jan Smith Producer, Engineer and Editor: Adam Binks John R. Veale Assistant Engineer: Steven Binks Katherine Wareham Recorded at 24-bit / 96kHz resolution Cover image: Sunrise over Oxfordshire by Barry Skeates (flickr.com/Creative Commons)

DDD – MCPS

RESONUS LIMITED – LONDON – UK

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