BRITISH MUSIC SOCIETY

nAPRIL 2018 ews AMBASSADOR FOR BRITISH MUSIC IN USA Madeleine Mitchell across the pond

A GARLAND FOR JOHN MCCABE Monica McCabe’s reflections on a life lived for music Agenda British Music Society’s news and events British music scores search

org Schneider from the German for piano and winds (1890) wind ensemble Four Points One • George Alexander Osborne Chairman’s J(www.four-point-one.de) is on Quintet for piano and winds the hunt for scores the following (1889) (Yes - he is actually Irish) compositions by British composers: If anyone from the BMS welcome • Marian Arkwright Quintet for network could help him track down piano and winds these scores please get in touch with MS member Madeleine Mitchell is back • Edith Swepstone Quintet for him at [email protected]. piano and winds Jorg is also on the look out for from America and has submitted the first • Henry David Leslie Quintet for any information about the Sir BBMS Ambassador report from her visit to piano and winds op.6 Michael Costa Prize 1896 Anyone the Kansas State University (see opposite page). • Edward Davey Rendall Quintet know anything about this? The committee is closely monitoring the progress of this new scheme and are always interested to hear members’ views. Reviving Victorian opera For those of you with access to the internet, a visit to the BMS website now offers the preced - ictorian Opera Northwest to revise Nell Gwynne by inviting B have made full opera C Stevenson (a librettist of Sullivan’s ing Printed News that opens by clicking on the recordings of works by Balfe, The Zoo) to write the new book. image of the cover. By the time you receive the V W V Wallace (both Irish), G Dorothy was the result and it next Printed News, the updates for the Recording Macfarren, Sullivan as well as a became a tremendous West End pages on the website will have been completed. collection of overtures by Balfe, success that even out-shone the Other developments on the recording front in - Barnett, Benedict, Loder, Macfarren, popular Mikado, which was playing clude news from the Treasurer that our latest re - Goring Thomas, Wallace, and now concurrently. Cellier. A project is underway by lease on Naxos 8.571377 in November 2017 of Arthur Over the last year we have had Victorian Opera to record this Benjamin and Edgar Bainton songs has produced requests for a lighter vein of forgotten comic opera, Dorothy and some of the best sales figures ever for the Society, operetta, the most interesting of rediscover the secret of its and James Dickenson of the Villiers Quartet has which is by Alfred Cellier. An fascinating and unbridled success. been busy recording the music of William Stern - Englishman of French parentage he With no autograph and the music was a chorister with Sullivan at the presumed lost, extensive research dale Bennett for our next BMS recording. We look Chapel Royal before acquiring eventually uncovered the band parts forward to hearing the results of the editing pro - formal musical education. With six from which a full score has been cess and will be publicising the date of its launch operettas/musicals to his name he prepared by Michael Harris. The this year. became Sullivan’s musical director project will be carried out in Please note that this year’s AGM will depart for the Savoy Operas in London and collaboration with the Royal from our usual London venues and see a move New York writing some 10 curtain- Northern College of Music under raisers to accompany the G&S guest musical director, Richard north to St. Alban’s to support a concert by the operas. Bonynge. Amadeus Orchestra with the choir of St. Alban’s His first three operas were Victorian Opera is hoping to Chamber Choir conducted by John Gibbons. Save written when musical director at the attract the support of sponsors and the date of Saturday 30 June in your diary for this Theatre Royal, Manchester. The subscribers who have an interest in event at 7.30pm in St. Saviour’s Church, Sandpit Sultan of Mocha written in 1874 helping revive our British Musical reached New York, but Nell Gwynne Heritage. For more information visit Lane, St. Albans AL1 4DF. Entitled ‘Light and Love’, was a failure. The librettist blamed www.victorianoperanorthwest.org. the programme consists of Ralph Vaughan the composer while the composer Raymond Walker Williams Epithalamium , William Alwyn Pastoral blamed the librettist! Cellier decided Chairman of Victorian Opera Fantasia , Cecilia McDowell Ad Lucem and Mal - colm Arnold John Clare Cantata . Details of where and when the Society will meet in St. Alban’s be - British Music Society Committee fore the concert will be issued in due course. Wendy Hiscocks (Chairman), John Gibbons (Vice Chairman), Wendy Hiscocks Stephen Trowell (Treasurer), Advisory roles: Karen Fletcher Printed News designed by Revolution Arts

-2- Music of Margaret Kitchin

A website dedicated to the pianist help of Margaret's daughter Claire. Margaret Kitchin has been launched. However, after two years of research, Margaret Kitchin (1914-2008) the repertoire list is still incomplete. specialised in contemporary Many performances are missing along repertoire giving many premieres with 76 BBC broadcasts without particularly of British music. specific details of the works Margaret Michael Tippett, Iain Hamilton, played. Peter Racine Fricker, Alexander Goehr Chris Crocker would be delighted and Thea Musgrave all dedicated to hear from anyone who may be able works to her. to help fill in the gaps, or contribute Visit the website at: any new material for possible www.margaretkitchin.org.uk inclusion on the website. He can be The new website has been contacted on [email protected]. compiled by Chris Crocker with the

BMS ambassador report from USA

was delighted to be a BMS Violin Week, with a careers talk. One of the Ambassador, promoting British music students was ill for the class but it was still Iabroad, giving a class and concerts a useful forum in the Kirmser Hall, on 8 exclusively of British music on a tour of the November, open to the public and well USA in November 2017. attended. A Century of British Music The students responded well to my input and attended my concert the BMS CD in following day with faculty pianist, Amanda Arrington in 'A Century of British Music' including music by Edward Elgar, John the news Ireland, Frank Bridge, Rebecca Clarke, Judith Weir and Michael Nyman. This was The recently released Naxos CD of previewed on Kansas Public Radio with the songs by Arthur Benjamin (pictured contemporary tracks from my new album above) and Edgar Bainton has proven Violin Muse. to be one of the Society’s best selling Two further recitals of British music recordings and is featured in the were given at Texas Tech University and in December edition of Classical Music My visit to Kansas State University was Boulder, Colorado with local pianists. My Magazine. A fascinating article by a return invitation and I was very pleased experience has been of great enthusiasm Phil Sommerich describes the story that the Head of Strings, Dr Cora Cooper, for this music, which is not often heard in of the discovery of these songs by was happy not only to prepare 4 string the USA and I believe it sowed the seeds for pianist Wendy Hiscocks and singers players with pianists in music by Elgar greater exploration by students and Susan Bickley and Christopher (Salut d’Amour) and Rebecca Clarke for teachers of British music. I'd like to thank Gillett. violin (Midsummer Moon) and viola the BMS for this enterprising new scheme, For more information visit: (Impetuoso from Sonata), but also to which makes possible such visits. www.classicalmusicmagazine.org incorporate the events into a Kansas State Madeleine Mitchell

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

E Howells’ Clavichord music; he hope to familiarise ourselves with all new I have a slight personal connection told the story against himself, that, music and make an assessment, but such with him, in that, as a young boy, I lived Rclutching the newly published a programme would be a start. next-door-but-one to him in the Adelaide score, he met Ravel in the street in Paris. On another tack, perhaps, too, we hills in South Australia in the early 1960s, After showing it, Ravel’s comment was might protest at the increasing use of ir - where I grew up, and knew his family ca - ‘quelle gravure’! relevant background music to many tele - sually, if not closely - hence my interest. - Sylvia Junge vision and radio programmes, which I would like to know of any works he often makes the commentary difficult to composed, and to hear them if I can locate Editor’s reply: quelle gravure = What en - hear. David Attenborough's Blue Planet II them anywhere, or to learn about any graving! (Ed) being a case in point. other musical activity of his, or any other - Geoffrey Hanson details about his life. I don't even know if hris Cope echoes much of that he is still alive, but he would have to be which composer Robert Simpson am interested in finding out any in - well into his 90s now if he is. That he Cwrote in his 1981 essay The Proms formation possible about the South served in World War II would also set his and Natural Justice. His dissatisfaction IAustralian composer Clifton Johns - age at not less than his 90s. with his BBC employer, for whom he both about him and his work. He was ac - Any details anyone knows would be worked as a producer for 30 years even - tive in the field of light orchestral music, gratefully appreciated. tually led to his resignation. I would like at least, probably around the 1950s to - Michael Edwards to see the argument extended and broad - 1960s: a composition of his, "Holiday [email protected] ened into persuading the BBC to give over Bound", is included on a recording of var - at least one hour a week to recent issues ious music under the same title, as well as have seen your message to the BMS. of British Music, particularly that of newly on another called "Here's to Holidays". For further information on musical released recordings of new music. We are Another work of his that used to be Iactivity in the West Country I suggest told that the market for CDs has dimin - broadcast occasionally in Australia was an you consult: Norris, Gerald: A Musical ished significantly, although one would orchestral medley called "International Gazetteer of Great Britain and Ireland, hardly believe it from the number of CDs Journey". And that is all the work of his David & Charles, 1981, pages 308-341 being issued and reviewed. We cannot that I have ever heard of. - Michael Bryant

Welcome to all the Guidelines for Printed News submissions new members who Revolution Arts would like to request joined in 2017 that all submissions of future editions of WORD COUNT E-News follow these suggested Each item should normally be up to 400 Drew Adams (Pulborough) guidelines. This will help us ensure we words please. Feature articles may be John Barnett (Kent) can produce both E-News and Printed longer. Derek G. Bevan (Essex) News in a consistent and high quality Dr. Chris Crocker (Didcot) manner. Many thanks to all IMAGES Jonathan Delbridge (Somerset) contributors! Please supply high-res images as .PNG Geoffrey Hanson (London) or .JPG files. These are especially Mrs Nicola Harrison (Oxford) TITLE important for our printed materials. Chris Henderson (Northampton) Please ensure there is a title to your Ms Henrietta Hill (London) submission eg the title of the CD, Book DEADLINE David R. M. James (Norfolk) or Feature - or even a letter as thus Please see the latest E-News for the Paul Leadbeater (Walsall) helps us give it an identity. Also don't deadline for receiving submissions. Philippa Mo (London) forget to put your name at the end. Submissions can be emailed to Francis Pott (Winchester) [email protected] Matthew Schellhorn (London) CONTENT Martyn Strachan (Edinburgh) Please supply text in an email or Ms Rachel West (London) attached in a straightforward text file (eg M. J. Whalley (Quebec, Canada) Pages or Word) with clear paragraphs. Dennis Wickens (Wantage, Oxon)

-4- Events

Ludlow English The National Song Weekend Youth Choir WOMEn In SOnG 6-8 APRIl 2018, lUdlOW SUndAY 15 APRIl The Halls, norwich For three days in April, Shropshire plays host to a unique musical event. The ludlow Celebrating music and musicians English Song Weekend celebrates words and from Imogen Holst to Imogen music in its own special, welcoming way. Heap, and commemorating the This year the focus is on Ireland, and the 100th anniversary of the music it has inspired. Bax, Bridge, Warlock Armistice. Music by female and Moeran feature prominently, alongside composers including: Irish composers Ina Boyle and Seóirse IMOGEN HOLST, THEA Bodley. Ailish Tynan and Robin Tritschler MUSGRAVE, SHEENA PHILLIPS, head a crack team of Irish singers, and we ROXANNA PANUFNIK welcome for the first time Carolyn dobbin And concluding with PARRY'S and Gavan Ring. ‘Songs of Farewell’. The Carice Singers bring a hugely Tickets www.nycgb.org.uk imaginative choral programme, and we’re joined by a bevy of wonderful instrumentalists: Adam Walker, nicholas daniel and the Gildas Quartet. With new works by Philip Hammond and Martin Bussey and a variety of talks and discussions we’re set fair for an action-packed, stimulating Weekend. Join us for the craic! For more information about The ludlow English Song Weekend, visit: www.ludlowenglishsongweekend.com

is a past President of Maidenhead Great Missenden Music Society and a past Chairman of Hitchin Symphony the Southern Region Committee of the Choral Society Association of British Choral Orchestra SOnGS OF SEA And SHORE Directors. MCCABE, ARnOld & MEndElSSOHn SATURdAY 28 APRIl At their forthcoming April concert they SATURdAY 19 MAY Great Missenden Parish Church, are presenting an all-British St Mary's Church, Hitchin, Hertfordshire Buckinghamshire programme: SG5 1HP HENRY PURCELL: Welcome to all the BMS member John Cotterill has been pleasures The next concert will feature a work by John conductor of Buckinghamshire's Great TONY HEWITT-JONES: Seven Sea McCabe - the orchestra’s President from 1984 Missenden Choral Society since 1995. Poems until his death in 2015 - and Malcolm Arnold. He brings a wealth of experience to GERALD FINZI: Let us Garlands bring JOHN McCABE: Concerto for Chamber this post, having studied conducting in EJ MOERAN: Songs of Springtime Orchestra. MALCOLM ARNOLD: Concerto for his earlier years with Alan Fluck, RALPH VAUGHAN WILLIAMS: Five Viola and Chamber Orchestra. FELIX Meredith Davies, Myers Foggin, Sir Mystical Songs MENDELSSOHN: Symphony No 3, 'Scottish' Adrian Boult and Sir Charles Groves. Nicholas Morton baritone Helen Sanders-Hewett viola In addition to numerous appointments Great Missenden Choral Society Hitchin Symphony Orchestra during the course of his career of a St. John’s Chamber orchestra Paul Adrian Rooke conductor variety of choirs, John has been Vice John Cotterill conductor Tickets 01462 458614 Chairman of Tilford Bach Society, and Tickets 01844 342566

-5- FEATURES Victim of the Somme Frederick Septimus Kelly (1881 -1916)

rederick Septimus Kelly DSC was an FAustralian/British musi - cian and composer - and also a rower who competed in the 1908 Summer Olympics. He was killed in action during the First World War. Kelly, who was killed at Beaumont-sur-Ancre in the latter stages of the Battle of the Somme (November 1916) whose centenary we marked last year, was born in Sydney, Australia, though I regard him as more of an English than an Australian musician. He went to school at Eton College and then Oxford and later (though he travelled widely) lived at Marlow, Bucks. When war came in 1914 it was composer, having studied at for two pianos, opus 5, two Pre - minutes, are a (conjectured) natural for him to enlist in the Frankfurt for a time (he knew ludes for organ and several for Moderato first movement and Royal Naval Division rather fellow Australian and Frankfur - solo piano: Waltz Pageant, Opus an Adagio worthy of Elgar than the Anzacs. tian Percy Grainger) and gave 2B (for four hands piano) (1913) whom Kelly knew personally There he met and became recitals in England and Aus - Allegro de Concert Opus 3 (he actually played with Frank friendly with, the poet Rupert tralia which he toured in 1911. (1913), Cycle of Lyrics, Opus 4 Bridge and the violinist Jelly Brooke; he was present when He knew Donald Francis Tovey, and a Piano Sonata, left unfin - d’Aranyi. Kelly published for Brooke died on the island of to whom he wrote in 1915 a ished at his death and whose solo voice Two Songs, Opus 1 Skyros a few days before the moving account of Rupert two surviving movements (1912), the first a charming set - first landings at Gallipoli Brooke’s burial*. probably date from 1916. ting of Shakespeare’s sonnet (Kelly’s Elegy in memory of Now for Kelly’s composi - This latter had to wait for Shall I Compare Thee to a Sum - Brooke, composed later in 1915 tions, which are varied, if its British premiere until 2015 mer’s Day? (which has also and scored for harp and hardly prolific. Apart from his and even though incomplete – been revived, in 2016, in the strings, was revived at the BBC memorial for Brooke, previ - it is not clear whether it would, Doncaster lunchtime series and Proms in 2014). Kelly survived ously noted, there was a Sere - if completed, have comprised the Six Songs, Opus 6 (1913). Gallipoli and was indeed nade Opus 7 for flute and three or four movements – is Kelly did not confine him - awarded the DSC for his ex - strings. Chamber music in - impressive as was shown by its self to music; he was an oars - ploits in the withdrawal early in cluded a String Trio and Violin British premiere, at a lunch man of repute and rowed (for 1916. The RND returned to Sonatas in G Major and D hour recital at Doncaster Mu - Great Britain) in the 1908 England and then went to the Minor and naturally he wrote seum and Art Gallery by Alex Olympic Games^I. Western Front later in 1916. for keyboard(s) including a Wilson on 15 April 2015^+. The - Philip L Scowcroft Kelly was a pianist and Theme, Variations and Fugue two movements, totalling 25

^* Reprinted in Lewis Foreman (ed), From Parry to Britten: British Music in Letters 1900 – 1945 (Batsford, 1987), p.72 ^+ Mr Wilson tells me he has played Kelly’s unfinished Sonata once since the premiere ^I The Somme thus claimed two notable musicians, the other being George Butterworth who also by coincidence was at Eton.

-6- A garland for John McCabe

ll his life John McCabe was lie neglected in dusty corners, for and proud to receive. in love with music. This love lack of a champion. Other tributes to John, in the Abegan at the very start of his He gave performances, in - form of choral, organ and piano life. He purchased copies of Haydn cluding first, second and more pieces have also been written, set and Beethoven scores with his performances, of such composers up by George Vass, which logistics pocket money, and as his life was as Hoddinott, Richard Rodney would not allow to be included in drawing to a close he was fasci - Bennett, Maw, Mathias, Joubert, this collection, but which I hope nated to hear the music of a Scot - Anthony Gilbert, Tippett, Hugh will one day be recorded. tish early composer, Robert Wood, Gerard Schurmann, Ed - The works on this Divine Art Carver, of whom he had hitherto ward Gregson, and many others. CD are by Peter Dickinson, John known little. He gave magnificent perfor - Joubert, Edward Gregson, Robert John’s love was for the art of mances of Bax, while loving and Saxton, Howard Skempton, Elis music, and for his joy in the cre - appreciating Webern. Nor did he Pehkonen, Robin Walker, Malcolm ated sounds. It was not self-seek - neglect to take interest in the work Lipkin, William Marshall, Martin ing, even though, as with any of the rising generation of com - Ellerby, Rob Keeley, James Francis composer, he had an imperative posers, such as Emily Howard, Brown, Gerard Schurmann, An - drive to express himself in music. Martin Ellerby, Matthew Taylor thony Gilbert, Christopher Gun - For this reason he was as and James Francis Brown. And he ning, David Matthews, Raymond happy to listen to the successful paid tribute to the work of his Warren, Emily Howard and Gary work of other composers as to composition teacher, Thomas Pit - Carpenter. They are performed by succeed himself, and as a pianist field. Linda Merrick (clarinet), John he was able to take part in and It is in recognition of this gen - Turner (recorders), Alistair Ven - promote the music of others. erous and wide-ranging devotion nart (viola) and Peter Lawson Above everything he fought to ex - to the art of music that John (piano), on Divine Art CD dda tend knowledge of the repertoire, Turner has gathered together this 25166, available February 2018. The so that such wonderful music as set of compositions in John’s CD cover is of an original oil- Haydn’s keyboard sonatas and memory, composed in 2016, a trib - painting of John by Angela Palmer. Nielsen’s solo piano music did not ute he would have been touched - Monica McCabe

-7- BOOKS History of the Three Choirs

The Three Choirs fined parameters, that the reader cannot but help be Hereford Cathedral Festival: A History drawn into Boden and Anthony Boden Hedley’s world and their and Paul Hedley enthusiasm for the sub - Published by Boydell Press ject. We learn the origins of 475 pages the festival, how it grew rom the front cover from the initial slight en - of this book, with the thusiasm of the clergy, and Fbackdrop of the organists/choir masters, large stained glass win - from the three cathedrals dows of Hereford Cathe - Worcester, Hereford, and dral and musicians in Gloucester, in the 18th mid-performance of century. Whilst not being Dream of Gerontius by afraid to ‘tell it as it is’ Elgar, one is immediately when showing behind the drawn in. As a composer scenes difficulties, and myself, I have always been using official papers, let - fascinated about the ori - ters, etc, the controversial gins of festivals, but also proposals with program - being an enthusiast of ming, secular, non-secular British music, the Three issues, artists demands, so Choirs Festival has, and many problems, as in all still is, in my mind when I life, become apparent. We think about important are taken through political music festivals. As a regu - changes, wars, etc., etc. Elgar and his rise as a being said then, this book, lar visitor to each county, I but the belief of the local composer in Worcester, makes for fascinating have come to know each of people who showed and but many, many others reading and is an invalu - the cities involved here, continue to show, enthusi - too! In fact, over the more able book, for not only pretty well, over the years. astic resolve and determi - recent festivals, indeed, musicians, music lovers, This is a revised edi - nation, to bring music and the last few decades, music festival attendees, but any - tion of the book published great art to the three of different genres has one really interested in the by Alan Sutton in 1992. cathedral cities. joined the programme, musical arts of Britain. I Within each of its 26 chap - Reading through the and venues are many and certainly hope the readers ters, the details are almost programmes for many of varied. The lists of per - of this review will try and overwhelming, and I found the festivals, we realise, formers, is actually quite seek out a copy and hope - myself re-reading certain how many composers astounding and we are fully, enjoy as much as I paragraphs and chapters, were given their first able to see the develop - did, and take away to make sure I didn’t miss chance to share their ment of musical artists, thoughts about the origins, anything. The writing is so voices to the wider world, and composers, following and future of such a fine clear however, with each this continues to today - their career paths and rise festival. chapter having clearly de - obviously, we all know of to prominence too. All - Peter Byrom-Smith

-8- CDS

Music in the An authentic realisation of Landscape Bax’s second symphony Music in the Bax; Symphony No 2, in the room of course is that however Landscape: How the Winter Legends good the performance, it now is only British Countryside BBC Symphony Orchestra to be heard in dim, constricted 1950’s Sir Eugene Goossens conductor mono, whereas as far as I am Inspired Our Greatest John McCabe piano concerned, if I want to listen to Bax’s Composers BBC Northern Symphony second symphony (and I do) I want it orchestra in modern digital stereo. Colour, dynamic range, and spacious sound Em Marshall Raymond Leppard conductor are so important given Bax’s Robert Hale Ltd 2011 extravagant demands. For me the Hardback 296pp Lyrita REAM 1137 value of this issue is only to compare Illustrated 248x195mm it to how modern conductors cope 9780709084686 his issue is one of a series of with the work, it is not something to Product Code: 501580 reissues of recordings made which I would repeatedly return. Tfrom Richard Itter’s enormous This is an observation not a criticism. The Malverns, Tintagel, Egdon Heath archive of domestic tapes which, Otherwise known as a and the Suffolk coast are just some of using state of the art equipment to composer, the late John McCabe was the landscapes evocatively portrayed record broadcasts, he began to also a fine pianist, and one who was in music by the 20th century’s assemble in 1952. Itter, the founder of always a staunch advocate of ‘Winter the Lyrita label, is of course a total greatest British composers. This Legends’ in which the piano part is hero for anyone with BMS treated concertante rather than as book explores how the diverse open connections and interests with a soloist. The writing is still very spaces of the countryside have huge catalogue of LPs and latterly demanding but McCabe is fully up to inspired distinctively British sound- CDs of British music of all kinds. (For it. The work has done well on disc worlds, from Elgar’s Cello Concerto instance I remember with joy the with recordings by Ashley Wass emergence on LP of John Ireland’s to Britten’s Four Sea Interludes. (Naxos) and Margaret Fingerhut piano music in the 1960s.) Marshall surveys the work of some (Chandos), thought the latter is the Thus here we have a very only one of the soloists to present the 40 composers, both world-famous authentic realisation of Bax’s second score uncut, Given that McCabe was names and lesser-known geniuses symphony. It really could not be such a strong supporter of the work such as Havergal Brian and Hamish more authentic inasmuch as it is odd that he decided to accept, or MacCunn. Introduced by Jeremy Goossens gave the first performance agreed to the cuts, a procedure which of this mighty work in 1930, a Irons and Jonathan Dimbleby. has always annoyed me intensely. performance which delighted the The stereo recording is decent Currently on special offer from composer. enough if, understandably, not up to Postscript Books at just £12.99 However one’s response to this the latest standards. instead of the normal price of £27.50. very much depends on personal - Geoffrey Atkinson tastes and perceptions. The elephant

-9- CDS

Chamber Music, Volume Three: Music for Oboe Oboe Sonata Countdown: Suite for Oboe and Harp Cor Anglais Sonata Three Winter Songs for Soprano, Oboe & Piano Suite in C minor for Oboe and Piano

James Turnbull oboe Libby Burgess piano Eleanor Turner harp Robyn Allegra Parton soprano TOCCATA TOCC 0444

Dodgson’s true grit shines

his survey of Stephen Dodg - tinů at a few brief moments in the spirits in the counting of money son’s oboe music, which is fast second movement before he rather than avarice. In 1972 he Tpart of an evolving Toccata introduces another of his tightly wrote Three Winter Songs for so - series devoted to his chamber conceived slow movements: he in - prano, oboe and piano. These are works, covers a period of over variably ensures enough grit to settings of George Crabbe, Osbert three decades. The earliest piece is stop things becoming predictable. Sitwell and Hilaire Belloc (the the Suite in C minor for oboe and The Sonata for oboe and piano three texts are printed in the piano, composed in 1957 and cast (1987), cast in six brief sections, booklet, and indeed one can see in five taut movements. As ever, opens with a skittish fanfare In - how Dodgson amended Crabbe’s Dodgson’s ability to write song- trada, and takes in an eloquently Birds in Winter from The Borough without-words slow movements is long-breathed melody in the - the basis of Peter Grimes of pronounced here, notably in the Grave movement where support - course). Whether descriptive or lovely Arabesque, as is the slightly ive piano chording is apposite and more pensive – whether evoking jazzy Scherzino in which loqua - sensitive. The Aria e Ciacona finale the hunting horns of Sitwell’s Win - cious exchanges and good humour enshrines the songful lyricism of ter the Huntsman or the fin de siè - are uppermost. Balancing this the former with the playful icono - cle shifting moods of Belloc’s against a lyrical Romance ensures clasm of the latter. A delightful February – these are idiomatic and a just expressive quotient in a envoi. In 1990 Dodgson wrote characterful settings. piece both attractive and accom - Countdown which he subtitled a The performances are uni - plished. A decade later he wrote a Suite for oboe and harp. There is formly good and are led by James Sonata for cor anglais and piano plenty to count here: candles, Turnbull, an adroit and expressive and James Turnbull and Libby sheep, money and your blessings. instrumentalist, and one can’t go Burgess rightly take the Andante The candles movement was a wrong with sleeve notes by Lewis con moto instruction in the first Salute for a Royal Birthday (the Foreman. Toccata’s Dodgson se - movement at face value, vesting Queen Mother’s 90th), a Nocturne ries continues to produce first the music with an urgent lyricism. promises lyrically-inspired sleep, class performances of beautifully Dodgson was especially drawn to whilst the Burlesque, a Scherzo in crafted music. Bartók but I thought more of Mar - effect, suggests innocent high - Jonathan Woolf

-10- The Scottish Modernist Violin Concerto Dance Suite for orchestra and piano Preludes From the True Edge of the Great World Matthew Trusler violin Danny Driver piano BBC Scottish Symphony Orchestra Martyn Brabbins conductor HYPERION CDA 68208 or most people inter - ested in music of the Ffirst half of last century, the name of Erik Chisholm has until now probably re - mained just that - a name in the history books. Now, with the enterprise of Hyperion we can satisfy our curiosity. Chisholm was an avant-garde figure whose characteristic mode of expression was com - parable to the perceived gi - ants of the period - Bartók (especially), Stravinsky, Berg, et al. Yet his distinctiveness, apart from this (from the British point of view), is that he was a truly Scottish Mod - ernist, whose life blood was the true Highland folk music tends to make use of them the themes are more clear tion. The level of dissonance of his native land, but with often simultaneously or to cut, but presented in highly is almost unremitting and Chisholm the folk music is feed off one another, or in - imaginative figurations and this, to some ears, may be - used in a totally uncompro - deed just for creating a mys - masterly use of the instru - come somewhat tedious, but mising manner. Andy Stew - terious, exotic atmosphere. ments. They sound as though then suddenly, as at the end art it is not. There is no doubt that the originals must make vir - of the first movement, there And there is another po - some of his music is tough. I tuosic demands on a pianist is a welcome moment of tent ingredient in some of his found two ways into it. Firstly and it is quite possible that much beauty and repose. In music. At the beginning of the explanatory notes are su - they make better sense in or - the end though one has the WW2 Chisholm found himself perb. These are by the emi - chestral dress. confident feeling that this in India where he recognised nent Scottish musicologist Next up should be the music has a fundamental in - that there were extraordinary and historian, John Purser, Dance Suite, where the vigour tegrity, along with an assured parallels between Scottish who fully understands the and drive off the music are technical mastery and sure- folk music and Hindustani complexities and significance highly infectious. Here footed and often energetic music. In this latter music of this oeuvre. Secondly it Chisholm explores the styles drive. one can find what we call the helps to start one’s listening of both Scottish and Hindus - Though no comparison Scottish ‘snap’, similarities with ‘From the Edge of the tani elements, to thrilling ef - is to hand, the performances between Highland bagpipe World’, where Chisholm ex - fect. The demanding here seem excellent, as is the music and Indian pipe music, ploits in his own inimitable concertante piano part is re - recording, though in passing an ever-present drone, and manner some original High - alised with splendid vigour by it may be noted that some of the structural use of grace land music. This work com - Danny Driver. the climaxes sound a bit con - notes. Chisholm did not push prises orchestrations of three The Violin Concerto de - gested. these parallels too far but his nine piano preludes. Here mands concentrated atten - - Geoffrey Atkinson

-11- George Dyson: St Paul's Voyage to Melita

Choral Symphony soloists and symphony orchestra. heartfelt appeal, with a superbly St. Paul’s Voyage to Melita Here, since its academic cohesive balance between choir, Elizabeth Watts soprano conception in 1910, this highly tuneful soloists and the meticulous Caitlin Hulcup mezzo soprano and influential work is given a well- Bournemouth Symphony Orchestra Joshua Ellicott tenor deserved premiere recording. This players. Roderick Williams baritone finely engineered enterprise captures This is beautifully evident in the an all-encapsulating sound that clearly haunting opening strings of a Largo The Bach Choir, Bournemouth demonstrates Dyson’s creative flair and movement which will emotionally Symphony Orchestra, David Hill musical skills. Contemporary charge even the stoutest soul. The conductor composers, Charles Stanford and wonderfully pitched soprano voice of Hubert Parry, are acclaimed to have Elizabeth Watts adds a shimmering NAXOS 8.573770 been Dyson’s main influences. For me shiver to an other-worldly atmosphere. this music also has an uncanny affinity David Hill marshals the large with Edward Elgar’s choral forces with a spiritual inspiration and bandoned art can often re- masterpiece, The Music Makers, which panache. Surely all serious music emerge years later to deliver was premiered two years later, in 1912. enthusiasts will now accept this Astunning surprises. So it has Dyson was born in Halifax to a towering work as a highly influential proved with British composer, Sir working class family and the Choral benchmark for British music overall. George Dyson. After more than a Symphony was written while he was at A total programme of more than 75 century of a lamentable neglect, well- Oxford University, where he earned a minutes of fascinating Dyson music is deserved recognition has at last been Diploma in Music. made up by another of the impressive given to his Choral Symphony. This This crystalline recording shows lists of works by Sir George, St. Paul’s powerful work is slickly divided into Dyson’s Choral Symphony as far more Voyage to Melita (1933). selected verses from Psalm 107 into than simply an academic achievement. - Chris Bye four movements for double choir, four It carries a vivid imagery of wide and

Unsettling response to wartorn Afghanistan

Sadie Harrison century. There is Debussian harmony Return of the Nightingales: and Messiaen like bird song, while the Music for solo piano second is an elaborate fantasy based on Par-feshani-ye ‘eshq: Dowland’s famous Lachrymae Pavan. Six Pieces after Bidel Shadows, are a homage to the Lunae: Four Nocturnes composer William Baines who died Shadows: tragically aged 23. Each piece is based Six Portraits of William Baines on some chord or motif from one of his Four Jazz Portraits works. These are wide ranging pieces The Souls of Flowers and the music of Ives came to my mind Northern Lights more than once while listening to them. Luna Hymns, marches, slow moving water are perfectly conjured: a strange and Duncan Honeybourne wonderful set of works. Philippa Harrison Four Jazz Portraits are just that, piano paints arabesques based on Ian Pace evocations of the piano style of jazz Afghanistan music. All this is treated in Renée Reznek piano giants seen through a 21st century lens. a Messiaen like way. It is an unsettling The laid back boogie woogie which often violent work, appropriately so as PRIMA FACIE PFCD072 ends the set is a delight. The rest of the it is a response to the devastation of the disc is made up of three exquisite wars in Afghanistan. miniatures dedicated to friends of the he word eclectic has become Par-feshani-ye ‘eshq, are six composer. rather a pejorative word in miniatures based on texts by Sufi poet All of the pianists are excellent in Trecent times so I think the best Bidel. They are varied in their conjuring up Ms Harrison’s sound words to describe Ms Harrison’s music evocation of the words but in their world. At the end I am not certain as wide ranging in style, expression, brevity capture a perfumed world much exactly who Ms Harrison is as a emotional content, form and structure. in the way that Sorabji took much composer but listening to the disc is a The Return of the Nightingales, is longer to do. rewarding experience. the first and longest work on the disc. Lunae are four instantly appealing - Paul RW Jackson It begins with a recording of the nocturnes reminiscent most notably of eponymous bird around which the French piano works of the early 20^th

-12- An ‘old bufoon’ and his musical tour

his recording by the enter - leonard Sachs on The Good Old Christmas Gambols prising Retrospective days. The tale is a florid and ec - TOpera reunites Gilbert and centric journey on the oceans with & The Musical Tour Sullivan expert Simon Butteriss side-lines into Ulysses travails of Mr Dibdin with the accompanist Stephen with the song style ranging from Higgins here playing fortepiano. It parlour ballad to raunchy sea Simon Butteriss baritone builds on the success of their work shanty. Mr Butteriss is well capa - Stephen Higgins fortepiano on Retrospect Opera’s previous ble of wringing every bit of theatre release, F.C. Burnand and Edward from this type of work and in RETROSPECT OPERA RO 003 Solomon’s Pickwick and George doing so is ably assisted by Mr Grossmith’s Cups & Saucers. Higgins, who is here playing a sin - Composer and librettist gularly inoffensive fortepiano. Charles dibdin was apparently Christmas Gambols (1795) was well known as ‘a cantankerous old intended specifically as a Christ - buffoon’ but also the most signifi - mas show and it gives the fullest cant writer of English comic opera picture of an eighteenth-century and song in the late 1700s, and the Christmas to have come down to leading singer-songwriter of his us. It is full of references to festive age, highly respected as a versatile traditions of the time, and features performer on the london stage. charming and engaging songs in a The disc begins with The Mu - range of different styles intended sical Tour of Mr dibdin (the title of to put the listener in the spirit of dibdin’s autobiography) which is the season. The work begins with made up of work selected by Mr a lengthy spoken introduction that Butteriss from various ‘table en - sets the scene in a country house tertainments’ by dibdin. These owned by Sir Alfred English and were one man shows, revues in all where Christmas has long been but name in which dibdin would observed. later episodes tell us a intersperse songs with dialogue great deal about preparations for and narrative. Mr Butteriss is well Christmas festivities, something suited to this type of work having which is missing from the songs in his vocal armoury a seemingly which move between nautical and inexhaustible range of voices and rustic numbers. Once again Mr characters ranging from a relative Butteriss has an inexhaustible of lady Bracknell to close rela - range of characters to introduce tions of Rambling Sid Rumpo. All us to and to keep the party moving these make their appearance in along at a brisk pace; there is no his spirited bravura delivery, a humbug here. The disc certainly style familiar to anyone who has gives an intriguing insight into seen his homage to George Gros - entertainment of two hundred smith or his television pro - years ago and as we approach grammes on Gilbert and Sullivan. Christmas offers a good natured The speedy delivery of the dia - alternative to more traditional logue however reminds me of the Christmas fayre. tongue twisting dexterity of - Paul RW Jackson

-13- Tumultuous trio of sleeping giants awaken

British Violin Concertos panache delivers each work with a through a prayer-like andante, and, Paul Patterson wonderfully infectious aplomb. This is finally, to a reflective but optimistic, Kenneth Leighton a perfect musical partnership with allegro finale. The highly-disciplined Gordon Jacob experienced conductor, Grant Scottish strings deliver a memorable, Llewellyn and shows real musical luscious, sound throughout. Clare Howick violin perspicacity. This highly-charged emotional BBC Scottish Symphony Orchestra A perceptively subtle balance writing is intensified by the addition of Grant Llewellyn conductor between orchestra and soloist is a perky woodwind and subtle brass lines, NAXOS 8.573791 remarkable feature of this release. in two other concertos by Messrs Listeners will find this a sparkling trawl Patterson and Leighton. These also tumultuous trio of sleeping through Britain’s unfairly-ignored 20th convincingly break into new recorded giants finally awake in this century violin concertos both edifying ground and certainly make this release Arelease. Expressive violin and educational. Perhaps the most a thoroughly pleasing example of concertos by the unfamiliar British dramatic of these three scintillating British 20th century music. composing names of Patterson, scores comes from that seasoned Great Ms Howick really gets under the Leighton and Jacob, make well- War composer, Gordon Jacob. skin of all these scores and shows a deserved breaks into the recording His concerto for violin and string razor-sharp articulation that contrasts world. All three composers punch orchestra, composed 30 years after that sharply with a dreamy, languid, through the ice with engaging World conflict’s conclusion, is still an abject smoothness. She has an abiding premieres. And not a minute too soon. reflection of that sorrowful period and interest in British violin repertoire. At the heart of this cheery news is its ever-haunting memories. The More power to her bow. the superbly-proficient solo violinist, three-movement piece moves from a Rule Britannia! Clare Howick, whose polish and mournful and contemplative opening - Chris Bye

Admired, but not particularly loved

Elgar: Falstaff this music, that he had largely written Orchestral Songs the latter before he had seen the script. Grania and Diarmid The songs are a revelation and Roderick Williams baritone particularly so since Roderick Williams BBC Philharmonic is on top form. Some were originally Sir Andrew Davis conductor set with piano accompaniment, others with orchestral accompaniment, but CHANDOS CHSA 5188 such is Elgar’s skill that it is difficult to envisage any difference in provenance. The 3 songs of Op 59 (numbered 3 5 and alstaff is a work that seems to be 6 - the others were never composed) respected and admired but not are particularly good. No 6 Twilight is Fparticularly loved. Elgar himself so unmistakably Elgarian with its had a high opinion of it but the descending 4 notes in a scale that problems seem to be that the expected anyone being ‘innocent-eared’ with it wonderful tunes are not very much in straightforward. would name the composer evidence, and the writing is dense and The work sounds tough for both immediately. One is tempted to say the remarkably advanced for the period. conductor and orchestra, but the disc is worth the money for this track Above all, to follow the music is a performance and pacing here are alone. I immediately downloaded the daunting task because the intricate splendid, with the mercurial and ever- piano version from IMSLP. programmatic basis of the work changing moods infallibly caught. The disc concludes with a demands close attention. Thus the The fill-ups on this issue are very ludicrous ‘jape’ (as EE would have called progress of the music is difficult to worthwhile. The two movements of it) the so-called Smoking Cantata, follow in the concert hall, however Grania and Diarmid (a commission for where the text ‘Kindly do not SMOKE in helpful the booklet notes. Very sensibly a play) are fine music, with an arresting the hall or staircase’ is dressed up into for this issue Chandos tag 11 way points first movement and a characteristic a full- scale highly dramatic Scena. It during the 36 minute length of the piece funeral march. Apparently Elgar was so lasts 49 seconds. which makes armchair comprehension delighted when he was asked to provide - Geoffrey Atkinson

-14- Best of Vaughan Williams’ treasured output

Vaughan Williams: woodwind) to the contrasting grandeur A London Symphony of London’s historic architectural gems A London Symphony (No. 2) (electrifying brass harmonies) and the Sound Asleep beautiful serenity of parks and places Orpheus with his Lute like the Thames (slow, seductive Variations for Brass Band strings) shows this is a heavily indulgent orchestra, really enjoying BBC Symphony Orchestra and itself.. An emotionally-charged VW Royal College of Music Brass Band aural picture bursts out with an overall Martyn Brabbins, conductor energy which seems to enshrine that perpetual London hustle and bustle we Hyperion CDA68190 all love. It is totally captivating. Committed professional playing from the flourishing BBC string, any eminent musical scholars woodwind, percussive and blaring consider the popular London tremendously desirable versions. brass sections combine to show some MSymphony (No 2) is the best of Now the indefatigable Martyn fine musical artistry. A cracking up-to- Vaughan Williams’ cherished and Brabbins steps into the fray as the latest the-minute sound recording technique treasured output of nine. This may be a heavyweight to turn in a pre-eminent makes this another top flight release to fiercely arguable point in the face of performance. He also enjoys the back be reckoned with. some brilliant VW symphonic up of some articulate and dramatic Interesting VW short support literature, but the fact that it was also a playing from the widely acclaimed BBC works entitled Sound Sleep and favourite of the composer himself, Symphony Orchestra. Orpheus with his lute feature the must add considerable weight to this Brabbins’ thoughtful phrasing and vintage voice of soprano, Elizabeth view. pacing of the rarely performed 1920 Watts, together with Mary Bevan Not surprisingly, recorded version, is also well founded by a (soprano) and Kitty Whatley (mezzo- versions of the highly expressive work purposeful direction showing deep soprano). abound. Big rostrum names make intuition and bubbly enthusiasm. This The short but sweet Variations is recordings of this enchanting piece account soundly captures a vivid also satisfyingly rendered by an highly competitive. Haitink, Handley, picture of the UK’s vibrant capital city. appealingly mellow RCM Brass Band. Hickox, Davis, to name but a few, are all From the impish humour of the - Chris Bye famous conductors to have recorded mischievous Cockney accent (chirpy

Delving into the BBC’s mesmeric archives

Peter Racine Fricker reception to his distinctive work influences unmistakably shine through Symphonies 1-4 coming from an unappreciative British this collection of memorable Rondo Scherzoso public and musical establishment. It symphonic phrases exposed by some Comedy Overture was a sad loss to British musical art, superb orchestration and polished and eventually and understandably, the playing. BBC Northern Symphony frustrated composer took his A particular favourite of mine Orchestra, Bryden Thomson, prodigious talent to Santa Barbara, comes from the 1960 baton of Sir Albert Rosen, Edward Downes, California, where he took up another Edward Downes, who conjures up his Maurice Handford, conductors professorship. players to deliver a luscious earth- Fricker’s inimitable contrapuntal quaking sound. A courageous score LYRITA REAM 2136 and acerbic style flew openly in the face flirts openly with the very edge of of more fashionable contemporaries, atonality, even though all Fricker’s like Vaughan Williams and Holst, whose works stay within the strict bounds of a n impressive plundering of the treasured music was based on the more more accessible tonality. comprehensive and mesmeric popular traditional lyrical, folk-song, Maybe this brave momentum to ABBC archives is here again with English idiom. take orchestral music into an fascinating recordings that will help to These wonderful recordings undiscovered new 12-tone world was rekindle a growing interest in the plucked from past performances under the cause of its initial demise. magnificent music of ex-Royal a range of notable conductors, expose Whatever the reason, this welcome Academy of Music professor, Peter the overall gripping drama of Fricker’s release helps to put Fricker’s musical Racine Fricker (1920-1990). forceful works and show that their art where it belongs, well back in the Fricker must have suffered a unforgettable claim to fame has re- listener’s ear! degree of disillusionment and emerged. - Chris Bye disappointment to the indifferent Bartók, Stravinsky and Schoenberg

-15- How sweet Arnold roams

Malcolm Arnold: mode when he wrote on the score The songs are often reminiscent of The Complete Songs “music? By M.A.” They show he Britten but “How sweet I roam” is Claire Joanne Thompson soprano had a good grasp of chromatic pure Arnold in every way. Miss Scott Mitchell piano harmony and of clear unadorned Thompson sings all with appropri - MAFF 001 word setting. They are pastoral in ate simplicity, tone and in their brevity never The song of accounting peri - outstay their welcome. ods (1967) was commissioned by n Arnold’s output the voice Two Songs: Neglected And the musical humourist John Gould does not figure large and this Morning Moon opus 8 were writ - and sets parts of a finance act and Inew disc from the Malcolm ten in 1944, are settings of transla - fulfils its purpose well. Arnold Festival runs to only 47 tions of poems by Mei Sheng. They The disc ends with Three John minutes. It purports to be com - are a curious pair; the first con - Donne Songs from 1974. Only the plete but misses out some songs trasts a perky piano part and lyri - first two were published and the including The Peacock in the Zoo cal vocal line with lengthy final one may have been com - to words by his daughter and the recitative passages and in the sec - pleted by another hand. Beautiful late song cycle Contrasts, written ond is part blues part dirge, the melodies have safe accompani - for Robert Tear. There are no liner juxtaposition not being entirely ments and Arnold seems unwilling notes so I include a little more in - successful. to interfere with the metre of the formation on the songs below Songs from Purple Dust are poetry to develop them much. The The first Beauty Haunts the arrangements of Scottish folk final song The Dreame simply Woods (1934) sets words by songs created for a production In drifts away which may be appro - Arnold’s sister Ruth. For a 13 year Glasgow in April 1953 of the farcical priate to a dream but not to a mu - old it is a rather accomplished ele - comedy by Sean O’Casey. They are sical setting. giac setting, pastoral in feel but straightforward in outlook, and Miss Thompson is clearly a perhaps too full of teenage angst in Miss Thompson is suitably gifted young soprano but her voice hoping that “Pan will pipe upon straightforward in her delivery but is for me too light for most of these my grave”. with a nice Celtic brogue.. songs, particularly in the Blake and In songs from Kensington The Five William Blake Songs Donne settings which call for Gardens, poems by Humbert Wolfe (1959) are Arnold’s most substantial darker dramatic colour. Mr are the last works he wrote in 1938 contribution to the solo voice Mitchell sympathetically makes for his first composition teacher repertory. They were originally the most of the largely functional Philip Pfaff. Accomplished as they written for voice and strings and piano accompaniments. are he was once again in teenage more atmospheric in that setting. Paul RW Jackson

-16- McCabe’s Silver Nocturnes

quintet, performed here by one, of the string quartet, he in one unit. The whole cycle John McCabe: the amazing Sacconi string opens a door, and we enter a of is absolutely stunning, and Silver Nocturnes The Woman by the Sea quartet, with the composer sound world of intense, emo - every now and again, the Silver Nocturnes himself at the piano, driving tional reflection. Trying to hairs on the back of my head, Horn Quintet the work along in his own di - capture such an emotional did, stand up! rection. I always appreciate story in music alone, without The final work on this Roderick Williams Baritone hearing a recording by the the visuals, can be extremely recording is the Horn Quin - David Pyatt Horn composer of their work, as we difficult to bring off for the tet’ the solo horn being played John McCabe Piano get an insight into their cre - listener, or audience, but here by the awesome David Sacconi String Quartet ative thinking at that particu - here, McCabe does exactly Pyatt. After a very short, calm NMC Recordings: lar moment in their lives, and that. intro, we are led into a won - NMCD230 this he does here, whilst play - Silver Nocturnes, the title derful, lively movement, with ing in an amazing ensemble track of the album, which is a some fine, and tight ensemble his new album of of sounds. McCabe’s interests quintet for baritone, sung interplay from everyone on Quintets by the late outside music, were very here by the astonishing Rod - board for this musical jour - TJohn McCabe, is a wel - wide, and here the inspira - erick Williams. The vocal set - ney. McCabe hints the pro - come addition to the cata - tional impulse behind this tings, are of 16th century gramme for the work could logue. I have known McCabe’s work, was the film Kenji Mi - poems, from the so-called be a Midsummer Night’s music for a long time, but zoguchi "Sansho Dayu" (1954). ‘silver poets’ Henry Howard, Dream, with its fleet - footed these pieces were all new to Structured in one continuous, Edward Dyer and Philip Syd - sections, around sections of me. As always from NMC, the through composed form, Mc - ney. McCabe also sets a short dream like beauty. However, quality of production is excel - Cabe creates a mood, of en - extract from a speech by John all that being said, I think this lent, from the cover artwork, hancing music, which of Gaunt, from Shakespeare’s work doesn’t need any sort of the beautiful audio through to provides the listener, some Richard III. Throughout this programme at all. Indeed, it the informative booklet, with inner mind images, by chal - work, the diction of the words easily stands up as a great programme notes and bi - lenging the ensemble, to their is clear and distinct and the work of music, and a wonder - ographies, etc. upmost musicianship. From voice and string quartet are ful addition the repertoire for The first work is The the very first sound of the an ensemble of expression, horn and string quartet. Woman of the Sea, a piano piano, to the entry, one, by power, intimacy of thought, - Peter Byrom Smith

William Walton: Symphonies 1 and 2

Kirill Karabits conductor illustration of how Karabits nurtures loved Walton grandiose is emphasised Bournemouth Symphony Orchestra orchestras along by using his very own overall by some blistering brass and Onyx 4168 distinctive, minimalist, flair. It is a forte string work. A wonderfully product of his enigmatic economy of haunting Andante in the First Symphony movement which coaxes the very best ebbs atmospherically along, with gentle irill Karabits is a conductor from both these penetrating scores and woodwind and violin phrases capturing destined to reach the very the dedicated Bournemouth players an infective pathos. Kpinnacle of his art. This alike. Dazzling, jagged strings launch a exceptional reading of the two Walton These two Walton symphonies are delightfully ebullient scherzo .These are symphonies blazes out in spectacular popular gems already masterly recorded classic performances that will certainly proof that he is destined to enjoy a by great interpreters such as Previn, leave a lasting impression. brightly-lit future that seems to go hand- Szell and Mackerras. They now provide The Second Symphony’s reflective in-hand with taking over the reins of the the ideal platform for Karabits to Lento it is also sublimely controlled. A well-oiled, proficient, Bournemouth demonstrate his fresh, tremendously sturdy Passacaglia, opening with a Symphony Orchestra. accomplished, talent. crisply delivered blazing brass theme, The young energetic Ukrainian – Arresting articulation from well- eventually leads to a satisfying still in his early 40s - is successfully trained instrumentalists makes the most conclusion of Fourth and final following the footsteps of other great of a fascinating First symphony score, movement. BSO names like Berglund, Barshai, featuring clever Sibelian-like flashes and One enthused French critic wrote Litton, Alsop and the historic Sir Charles bold dissonances. recently: “Karabits is part of a young Groves. No wonder this powerful piece has generation who shines through Kirill Karabits. This is a memorable left such a lasting impression on British everywhere now.” Maybe this excellent name which easily trips off the tongue music lovers, ever since its pre-war release sums up his words. and is definitely one for listeners to premiere in the late thirties. Vive Karabits! follow in the future. A scintillating delivery of that well- - Chris Bye This fine recording is a first class

-17- Youthful exuberance and warm acoustics

Heatwave: Music by Arnold, slow movement is the heart of the work Delius, Dring, Farrington, its rhapsodic lines seeming to be a Mathias, Robbins & Tippett precursor of his magnificent Harp Juliette Bausor flute Concerto, its emotional power Daniel Bates oboe surprising in such a short movement. Simon Lepper piano The heart of the disc is Dring’s Trio one of the great works in the genre. The Stone Records ST8071 spiky outer movements are full of knowing humour while the slow movement is based around melodies of uliette Bausor, Daniel Bates and such exquisite beauty that time seems Simon Lepper, all soloists with to stand still while listening to them. Jimpeccable pedigrees come This is probably the best recording of together here to perform trios by the work I know. British composers. British they may be The 19 year old Malcolm Arnold’s but there is something French whirlwind outer movements Suite Bourgeoise (sic) was thought lost sounding about this combination of surrounding a bitter sweet, heat laden until the score reappeared in 1996 and instruments and all the works have a Siesta. since then has proved itself rather Gallic feel to them. On this exceedingly The Tippett Prelude, Recitative and popular around the world. It is full of well recorded disc with a warm Aria is a comparative rarity. Based youthful exuberance, not a little acoustic and each instrument perfectly around themes form Act 3 of his rather silliness and of course wonderful tunes. balanced, they sound marvellous. tough opera King Priam it is Arnold would use part of the Dance in The world premiere recording of surprisingly lyrical the contemplative his Piano Duet Concerto and the Valse Iain Farrington's Heatwave, mood perfectly suited to this -one of his greatest melodies- in the St commissioned by the group in 2006, instrumental combination. Trinian’s films and it provides the gives the disc its title. This is an Mathias’s Divertimento, is perfect ending to this well thought out attractive accessible work- indeed all instantly recognisable as his work, the programme. the works on the disc are tuneful each dance rhythms and modal harmonies Paul RW Jackson with their own earworms- with two are beautifully shaped by the trio. The

Unfairly ignored British gems get to shine

George Lloyd: Symphony No.6, tragic work, subtitled ‘Proserpine’, the life in rural Cornwall: “Dead dreams Symphony No.7 'Proserpine' ancient Roman goddess of the that snows have taken. Wild leaves that BBC Northern Symphony underworld. the winds have taken” was how he Orchestra Mellow and snarling brass phrases, encapsulated his programmatic Edward Downes conductor under-pinned by plaintive strings and seventh symphony. This impressive swirling woodwind tightly wring every music graphically illustrates an LYRITA REAM 1135 milligram of emotion from this uncharacteristic gritty side of a terrifying score. composer normally associated with In this fraught piece is genteel works of a more pastoral quality. ere are two unfairly ignored British composer, George Lloyd, trying The sharp analogue recording is British gems successfully to come to terms with the devastating shared by this symphony’s predecessor, Hreinvigorated with an psychological after-effects of a tragic the small-scale Sixth. Lloyd had a irresistible rehearing, courtesy of that torpedo blast during the Second World particular interest in the output of reliable artistic bedrock – the BBC War, when he served as an innocuous Berlioz and Verdi but these two works musical archives. Royal Marine bandsman? It certainly seem to be more of a faint echo of Lloyd’s highly expressive number was a shipboard disaster destined to Richard Strauss and Edward Elgar. seven – arguably the best of his scar Lloyd for life. Sir Edward and his well marshalled momentous 12 symphonies – is Severe depression and a nervous BBC players implacably show in these powerfully delivered in a 1979 studio breakdown saw him for many years treasured recordings that Lloyd’s music recording performed by that seasoned turn away from composing to is distinctive rather than derivative. conducting master, the late, great, Sir mushroom farming in a desperate Their appearances among Edward Downes. search for relief. The terrible angst he outstanding British recorded The BBC Northern Symphony suffered at this time was cruelly repertoire are long overdue. players certainly expressively immerse summed up in his own words, during a - Chris Bye themselves is this deeply moving and

-18- A very welcome disc

Sir Richard Rodney Bennett dious music and just got on with it. is probably the most successful writ - Vol.1: Indeed in later life he often ques - ten for that fascinating instrument. Marimba Concerto tioned why anyone would want to Bennett ensures that the very wide Symphony No.3 play his early dissonant works as he range of the solo instrument is al - Celebration Summer Music certainly didn’t care to hear them. lowed to shine through in orchestra - Sinfonietta Celebration (1992) is a brilliant tion of transparent elegance. Colin orchestral overture full of dynamic Currie plays it with both grace and Colin Currie marimba jazzy rhythms and athletic melodies. virtuosity. BBC Scottish Symphony Orchestra It has much in common with his The 3rd Symphony (1987) so Ben - John Wilson conductor hugely popular Partita written about nett told me was his favourite of his CHANDOS CHSA 5202 [SACD] the same time. Rather like a mini works. It contains the most erotic concerto for orchestra different sec - music written by an Englishman n 2006 Chandos released a tions have a chance to shine. Summer since Tippett’s Ritual Dances. It is a Richard Rodney Bennett Vol1 Music (1982/84) started off as a work tightly constructed work based on Iunder Richard Hickox, since that of medium difficulty for flute and the opening intervals which are conductor’s sad death they have piano and has become a staple of the pushed through extraordinary lush clearly decided to start over with this repertory. This arrangement for orchestral colours; all the more bril - the first disc in a new series under small orchestra shows his genius at liant since it is written for a smallish John Wilson. Bennett was the most orchestration, the material sounds as orchestra. Like his cello concerto supremely talented British musician though it was always meant for these Sonnets to Orpheus with which it of his generation, pianist, composer, forces. Sinfonietta (1984) was written shares material it is clearly an ardent singer, in classical, film and jazz gen - for amateur orchestras, but its bril - love song. James DePreist’s passion - res and this is one of the reasons he liance is that it does not sound like it. ate 1996 recording for Koch has the is so little regarded, too gifted by half. Bennett never wrote down to his per - edge over this recording. Since his death at Christmas 2012 formers and in this works three sec - Bennett had enormous regard performances of his music have been tions are beautiful developments of for John Wilson and here he draws few and far between which is why tuneful engaging music. This mate - superb playing from the BBC Scot - this disc is all the more welcome. All rial does bear some close similarities tish, who actually seem to be enjoy - of the music is from 1982 onwards to that in Summer Music, but is none ing the music. I can’t wait for volume when Bennett stopped worrying the worse for it. 2. about his wish to write tonal, melo - The Marimba Concerto (1987-88) - Paul RW Jackson

-19- Violin Muse The UK’s finest contemporary composers and musicians

Madeleine Mitchell: Violin Muse by Guto Puw is set in two movements, other times, taught with psychological Poole: Rhapsody instead of the usual three. What a tension. The slow orchestral Puw: Concerto Soft Stillness beautiful, tense, beginning there is to introduction to the 2nd movement, with D. Matthews: Romanza this work, the solo violin, drawing the some beautifully toned solo playing, Harrison: Aurea Luce listener in, before we’re taken into the 1st takes us to a completely different tonal Weir: Atlantic Drift for Two Violins movement proper. Inspired by lines from world. This one, haunting in reflective M. Berkeley: Veilleuse Shakespeare’s The Merchant of Venice beauty, with once again, inspired Nyman: Taking It as Read (famous from Vaughan Williams scoring, melodic and harmonic Serenade to Music) the compositional invention which is brought to a gentle Madeleine Mitchell violin close, by a long drawn out note, dying Cerys Jones violin away, thus leaving us, well, leaving us to Nigel Clayton piano reflect and breath once more. BBC National Orchestra of Wales David Matthews’ Romanza was Edwin Outwater conductor commissioned and premiered by Mitchell and Clayton and it is truly a DDA 25160 composition where both players are almost equal partners, in their musical exploits! Even from the outset, the two he disc provides a set of world instruments, discuss, parry each other in premiere recordings from some of a musical dual, also, sharing each other’s Tthe finest of the UK’s melodic and harmonic feelings. In the contemporary composers and dance, a waltz, which a major part of the performers. In Rhapsody by Geoffrey Madeleine Mitchell with BMS work holds a number of surprises and Poole, virtuosity shines throughout this chairman Wendy Hiscocks absolutely magnificent it is too. work tempered with emotional intensity Aurea Luce by Sadie Harrison is yet equally balanced against movements result is a tremendously effective work. based on a plainsong melody, sung for of song like quality and stillness. The terrific orchestral playing from the the Feast of St Peter’s chair, in Rome, Throughout its challenges Madeline BBC National Orchestra of Wales under where the actual premiere took place. Mitchell’s tone is balanced by the Edwin Outwater, provides a powerful From the beautiful entrance of the violin, wonderful accompaniment of Nigel accompaniment to the virtuosic, intense we enter a musical space of thoughtful Clayton on piano. It seems a truly power of the soloist. The orchestration is reflection. The violin spins its mystical inspired work and totally convincing truly wonderful; at times open and magic, by stating the melody, whilst bare performance of it. spare, allowing the violin to weave its chordal piano supports it. This work is The Violin Concerto - Soft stillness way in and out of the texture, whilst at totally convincing as a work of musical

-20- Dreams and darkness

Mark Simpson: Night Music Night Music, Ariel, Barkham Fantasy, Echoes and Embers, Lov(e)scape, UnRegalo, Windflower, Nur Musik NMC D225

he Debut Discs series is an excellent initiative on the part of NMC Recordings to support and establish the next gen - Teration of gifted young composers by producing a solo disc devoted to their music. Releases in the series have included mu - sical portraits of Helen Grime, Huw Watkins, Charlotte Bray, Joseph Phibbs, and Emily Howard, among others. Night Music fea - tures eight highly accomplished works by the (almost) 30-year-old Liverpudlian wunderkind Mark Simpson, who was simultaneously announced the BBC Young Musician of the Year (clarinet), and the BBC Proms/Guardian Young Composer of the Year in 2006. Opening with the disc’s eponymous track, Night Music, Simp - son explores and manipulates a sound-world inspired by ‘dreams, nightmares, moonlight and darkness’ in a work for cello and piano, performed excellently by Leonard Elschenbroich and Alexei Grynyuk. Themes of darkness and sinister unease continue in the Sylvia Plath inspired Ariel, for basset clarinet, violin, cello, and piano, in a tour-de-force performance by the Mercury Quartet that art, as it is taking us into an intense, but pushes the limits of compositional technique and instrumental fa - also intimate imagination. Atlantic Drift cility. The ghostly Barkham Fantasy showcases Simpson’s more re - by Judith Weir is a set of three short strained writing in a work for solo piano, throughout which pianist pieces for two violins in which Mitchell Richard Uttley brilliantly conveys the creepy overtones of an ob - is joined by Cerys Jones. All have the sound of Scotland in them though all are servant spectre that imbued the composition with a chillingly un - not authentic tunes. Michael Berkeley’s nerving presence. Veilleuse (Nightwatch) was written in In Echoes and Embers and Lov(e)scape, Simpson establishes 1997 for Madeleine Mitchell. It is a himself the consummate chamber musician, both as composer somewhat melancholic work, but also and performer, while in Un Regalo, composed for the 300th birth - quite restless too, with passages of such day of Guy Johnston’s David Techler cello, Johnston gives an en - intense power bursting out, sometimes catching the listener off guard gaging and compelling account of Simpson’s celebration of an completely - terrific stuff! extraordinarily versatile, sensitive yet powerfully resonant instru - The final work on this recording is ment. Taking it as Read by Michael Nyman. Windflower, a descendent of Britten’s Six Metamorphoses Composed in two short movements is a after Ovid and is a welcome addition to the oboe repertoire, and truly delightful work, and a pleasure for one’s auditory nerves and heart, in equal Nicholas Daniel’s accomplished performance is likely some of the measure. Both Mitchell, and Clayton are best oboe playing on disc. Closing the disc, another work promi - totally in tune - no pun intended - with nently featuring the oboe, this time played by Jonathan Small, with the composers thoughts and the larger accompaniment of Ensemble 10/10, Nur Musik is purely inspirational expression. With these two abstract, and explores a range of textural and emotional intensi - short movements, they bring the ties, whilst also highlighting the lyrical capabilities of the solo oboe. listener to a conclusion of a really expressive and creative project - 7 This is a disc of exemplary performances that translate well composers works written for superb in recordings, the likes of which any composer would be grateful violinist Madeleine Mitchell; throughout for. Simpson’s oratorio The Immortal and his first chamber-opera her playing is a total wonder. Pleasure both deserve further performances and recordings. April - Peter Byrom-Smith 2018 will see Simpson return to Manchester for the premiere of his Cello Concerto with the BBC Philharmonic. - Andrew H King

-21- Cutty Sark

Heritage and landscapes

Paul Lewis: Heritage & Landscapes Lewis’s liner notes tell us he was winter. The ingenuity with which he Heritage Suite (1990) initially inspired by Walton and the manipulates the variations hint at English Country Pictures (1988) disc starts off with the very Wal - what he could achieve in larger Sussex Variations (1972) tonesque Heritage Suite. The first forms, should he want to. The mad - An English Overture (1971) An English Fieldscape (1993) movement Cutty Sark, a tribute to the cap An English Overture based on Festival of London March (1970) tea clipper and where Lewis effort - well-known sea shanties burst ener - Seasonal Variations (1988) lessly captures the feel of the sea getically onto the scene and the or - Battle Over Britain (1990) spray and wind in the sails. Likewise chestra has every chance to show in Cornish Express an image of the how much they enjoy it. Conducted by the composer train (steam here of course) that runs The disc end with The Battle of EMRCD039 from Paddington to Penzance leaps Britain which Lewis was commis - aul Lewis is the self-taught out of the speakers. Four works de - sioned to write in 1990 for the 50th composer of much music for pict England’s “Green and Pleasant anniversary of the event. It is a well television and his style is very Land” and are the musical equiva - thought out 10 minute tone poem de - P lents of landscape painting in mood picting the Kent countryside, the call much in the English light music tra - dition. There are wonderful tunes a music, and while the landscapes he to arms and the one-to-one aerial plenty which alongside lush orches - conjures may no longer exist it is nice combat. The work ends with digni - tration and stunning orchestral play - to think they could. Lewis comes fied and heroic march that Walton ing make up for a winning disc. EM from Sussex, and in the Sussex Vari - would have been proud of. Records have brought together eight ations, which was written for Living This is a great collection of works conducted by the composer. with Colour a 1972 documentary on works that once upon a time might They date from sessions over more the county he paints a loving portrait have been heard on Radio 3’s Matinee than twenty years and with a variety of his home turf. The recording is let Musicale or Brian Kay’s Light Pro - of orchestras and in these remas - down by a rather out of tune harp. gramme but are in a style which we tered recordings all sound excep - The Seasonal Variations are delight - never hear anymore; more’s the pity. tionally good. ful miniatures depicting the four - Paul RW Jackson seasons with a particularly chilly

-22- Rutland Boughton. Photo credit: Llyfrgell Genedlaethol Cymru / The National Library of Wales

Boughton’s work gets a rare outing

Rutland Boughton: For Joyance played in Britten's orchestra at the oboe plays throughout its Chamber music for oboe. Aldeburgh. range with much made of the Folk music is an inspiration in lower register. Oboe Quartet No. 2 all of these works and indeed The Second Quartet is a much Two Pieces Three Songs without Words some are based on actual folk more robust affair and although Portrait songs. This version of written in 1945 inexplicably had to Greensleeves Greensleeves for Oboe and string wait till 2014 for its first outing. A Oboe Quartet No. 1 quartet is a welcome alternative to folk like feel is set from the outset Vaughan Williams setting. There and through its near 7 minutes a Mark Baigent, oboe are some delightful counter variety of folk like melodies are Oboe Classics: CC2034 melodies and wayward harmonies bounced around and skilfully in - utland Boughton’s music is that prevent the melody becoming terwoven. The slow movement is a so seldom performed these boring. lyrical barcarolle, the sinuous days which is a great pity as The main works on the disc melody perfectly placed for the R are the two Oboe Quartets, the oboe’s timbre. The waltz like third he was, as this disc demonstrates, a fine composer in the lyrical En - first of which is mainly elegant and movement leads to the finale is a glish tradition. The music here pastoral, the rococo like first madcap scamper with hints of a which he, composed between 1925 movement with its quasi fugal hornpipe in which the oboe is put and 1945 was, with the exception of writing setting the scene for the through its paces and which one piece, written for his daughter rest of the work. The brief middle brings the work to an exhilarating Christina Joyance or "Joy" movement is a jig like scherzo that close. Boughton (1913-1963). Born to Holst would have been proud of. This is a well-planned disc Boughton's second partner The finale, longer than the previ - which shows Mr Baigent as a Christina Walshe, Joy became one ous two movements together, is a skilled performer ably supported of the most accomplished oboists set of variations on a wistful folk by his colleagues. I only wish it of her generation and it was for like theme. The quartet gets much had ended with the high of the her that Benjamin Britten com - to do in developing the material Second Quartet rather than the posed his Six Metamorphosis after with the skittish oboe providing more subdued mood of the first. Ovid, Op. 49 in 1951. She also commentary. Mr Baignet is able to show his controlled technique as

-23- Honouring Bennett

MS members, far more nouchi does the piece proud, his Sterndale Bennett: Piano than the rest of us, will al - tasteful and controlled playing Bready be familiar with go- enhanced by an enviable handling Sonata in F minor, Op 13 to English Romantic composer of rhythmic flexibility. Schumann: Symphonic Etudes, Op 13 William Sterndale Bennett (1816- The only other recording I 75). listeners knowing perhaps know of is from Ilana Pruny on Hiroaki Takenouchi piano just the G minor Symphony and naxos. She couples the sonata the Capriccio for piano and or - with more Bennett, the Suite Op ARTALINNA ATL A018 chestra will be interested to know 24: Takenouchi-san chooses the how this F minor sonata com - Schumann work that most of us pares. All of us will be delighted call by the French title Etudes that a Japanese pianist has hon - Symphoniques, though Artalinna oured the piece enough to make opt for a more English alternative: this splendid recording of it. Etudes in Form of Variations Bennett was, of course, a “Symphonic Etudes”. This is close personal friend of Schu - Schumann’s first version, not the mann, making this disc’s coupling perhaps more familiar second. far more than just a happy coinci - Musical differences between the dence of opus-number. The two two are tiny until the finale, which men were such firm friends that departs considerably from the Mendelssohn jokingly complained Clara-Schumann-edited score to Bennett that he could never see that many of us may possess. him alone, for Schumann was al - Takenouchi is a safe pair of hands, ways with him! Yet it is and his interpretation preserves Mendelssohn, rather than Schu - momentum both within each vari - mann, who provides the closest ation and through the structure as musical influence here, and in fact a whole. And – again, as many it was Mendelssohn to whom Ben - BMS members will already know nett offered the piece as a wedding – the coupling is perfectly appro - present, in 1837. priate, for the Etudes are dedi - less predictably perhaps, cated to none other than Sterndale Weber is an influence too. Weber Bennett himself. in songful rather than acrobatic - Michael Round mood, it must be said – the pre - vailing texture is of soprano-reg - ister aria and steady accompaniment, and the writing, although adventurous for the time, contains few flights of fancy above the stave for such a large work (four movements, 36 min - utes, of which 16 are taken up by the first movement). Maybe the key of F minor discouraged such frivolity. Severe critics might no - tice that the finale’s texture re - mains unvaried compared to, say, that of Beethoven’s sonata Op 2 no 1 in the same key. Hiroaki Take -