msv 28522 Pipings and Bowings Lyrical English

Lyrical English Chamber Music series: Ensemble Chamber Manchester The

Music by John Veale and Robert Crawford

John Turner (recorder) : Linda Merrick (clarinet) The Adderbury Ensemble Metier MSV 28520

For release in the autumn of 2011:

David Dubery : Songs and Chamber Music Metier MSV 28523

John Turner and Peter Lawson also feature on:

“White Dawn”: Songs and Soundscapes by David Lumsdaine

with Lesley-Jane Rogers (soprano), Gemini directed by Martyn Brabbins Metier MSV 28519 John Turner (recorder) Peter Lawson (piano) Lawson Peter (recorder) Turner John made and printed in the UK metier records division, divine art recordings group (cello) Price (violin) Jonathan Howarth Richard

msv 28522 Booklet.indd 1-2 28/4/11 09:44:30 Pipings and Bowings - lyrical English chamber music The divine art family of labels

MICHAEL HURD (1928-2006) Sonata for Violin and Piano (1979, revised 1985) 13.23 1 I. Moderato 3.39 2 II. Adagio, flessibile 1.55 3 III. Andante con moto – Allegro molto – Moderato grazioso – Presto – Largo, quasi una recitativo – Andante 7.49 Five Preludes, for Piano (1989) 7.12 4 I. Andante flessibile 1.13 5 II. Allegro moderato 1.19 6 III. Moderato con moto 0.51 7 IV. Adagio tranquillo 3.08 8 V. Andante leggiero 0.41 A full list of over 300 titles, with full track details, reviews, artist profiles and audio samples, is on our website. All our recordings are available at any good record store or direct from Sonatina, for Recorder and Piano (1964, revised 2002) 7.53 our secure web stores. 9 I. Allegro, molto moderato 3.33 www.divine-art.co.uk 10 II. Largo e tranquillo 2.08 11 III. Allegro giocoso 2.12 www.divineartrecords.com (USA/Canada)

Three-Piece Suite, for Recorder and String Quartet (2004) 4.39 Divine Art Ltd., 3 Cypress Close, Doddington, Cambs. PE15 0LE, UK 12 I. Introduction 1.14 Tel: +44 (0)1609 882062 email: [email protected] 13 II. Song 1.48 14 III. Dance 1.37 Diversions LLC (Brandon Music), 62 Country Club Road, Brandon, VT 05733, USA Tel: +1 802 465 4071 email: [email protected] ROBIN MILFORD (1903-1959) 15 Prelude, Op. 92, for Violin, ’Cello and Piano (c.1948) 3.39 Printed catalog sent on request Most titles also available in digital download through iTunes, Classics Online, Three Airs, Op. 109, for Recorder and Piano (1956) 4.43 and at http://divineartdigital.downloadcentric.net 16 I. Andantino 1.38 17 II. Andante 1.37 WARNING: Copyright subsists in all recordings issued under this label. Any unauthorised broadcasting, public performance, copying or re-recording thereof in any manner whatsoever will constitute an infringement of such copyright. In the United Kingdom, licences for the use of 18 III. Allegro moderato 1.28 recordings for public performance may be obtained from Phonographic Performance Ltd, 1, Upper James Street, London W1R 3HG. métier msv28522 0809730852220 2 15

msv 28522 Booklet.indd 3-4 28/4/11 09:44:36 Westmorland Orchestra. He regularly conducts Blackburn Symphony Orchestra and Chester ROBIN MILFORD (1903-1959) Philharmonic Orchestra. Richard coaches orchestras at the Royal Northern College of Music 19 Fantasia in B minor, Op. 74, for String Quartet (1945) 7.13 and Chetham’s School of Music. Sonatina in F major, Op. 107, for Recorder and Piano (1956) 5.53 20 I. Moderato 1.39 The Manchester Chamber Ensemble was formed in 2007 drawing on the cream of chamber 21 II. Andante 2.00 music specialists in the North West of England who play regularly with fine chamber orchestras 22 III. Vivo (non troppo) 2.14 such as Manchester Camerata. Sarah Whittingham – violin, Richard Williamson – viola, and 23 Christmas Pastoral, Op. 111, for Recorder and Piano (1957) 2.02 Jonathan Price – cello, are all highly experienced chamber musicians who appear regularly with several other similar ensembles and orchestras. Manchester Chamber Ensemble has appeared DICK BLACKFORD (b. 1936) at important venues in the region including The Bridgewater Hall and The Brindley in Runcorn. Its flexibility enables the performance of a wide range of music requiring any combination of Concerto for Recorder and String Quartet (2007) 18.09 instruments from trios to nonets. Collaborating with guest artists is an important part of the 24 I. Prelude: Maestoso 1.10 25 II. Allegro moderato 3.32 group’s development. Pianist Martin Roscoe, harpist Catrin Finch and recorder virtuoso John 26 III. Lento – Scherzando – Vivace – Tempo primo 5.14 Turner are among the list. The ensemble has a commitment to promote new music and, to 27 IV. Allegro vivace 6.11 this end, they have recorded music by John Manduell and his friends which is released on a CD 28 V. Postlude: Lento 2.02 called ‘Antiphon’. Several more recording projects are in the pipeline.

This recording was made with the assistance of grants kindly provided by The British Music Society Total CD duration: 73.09 Charitable Trust and the Milford Trust. Recorded at Whiteley Hall, Chethams School, Manchester on 29th November and 19th December 2009, by kind permission of the Feoffees. Producer: Paul Hindmarsh. John Turner (recorder) Peter Lawson (piano) Engineer: Richard Scott. Richard Howarth (violin) Assistant Engineer: Stephen Scott. Music copyrights: Tracks 1-11: Novello and Co. Ltd; Track 23: Oxford University Press. All other tracks: Copyright Control. The Manchester Chamber Ensemble Programme Notes by John Turner. Richard Howarth and Sarah Whittingham (violins) Cover image “The Wind Player” © copyright the estate of the late Dorothy Bradford, and is used by kind permission. ℗© 2011 Divine Art Limited. Richard Williamson (viola) Jonathan Price (’cello) 14 3

msv 28522 Booklet.indd 5-6 28/4/11 09:44:36 The composers and their music

MICHAEL HURD was born in Gloucester in 1928. He received his main musical education at several works for his instrument, including the Rawsthorne Recorder Suite, the Handel F Major Pembroke College, Oxford, studying under Sir Thomas Armstrong and Dr. Bernard Rose. After Trio Sonata and John Parry’s Nightingale Rondo (the only substantial known British nineteenth six years on the teaching staff of the Royal Marines School of Music (during which time he century work for a fipple flute). He was awarded an Honorary Fellowship by the Royal Northern studied composition under Sir Lennox Berkeley) he settled in Hampshire, where he worked College of Music in 2002 for his services to British music, and is a Visiting Distinguished Scholar as a freelance composer, author, and lecturer. His books range from the educational (such of Manchester University. as The Oxford Junior Companion to Music) to the biographical (including studies of Rutland Boughton, Ivor Gurney and Vincent Novello). He wrote the New Grove article on the music of Peter Lawson was born in Manchester and studied there with Derrick Wyndham and Sulamita Robin Milford. Michael Hurd’s output includes opera, choral, orchestral and a small quantity Aronovsky. He now combines a busy performing career with teaching at Chetham’s School of of chamber works. His many “pop” cantatas, beginning in 1966 with Jonah-Man Jazz, have Music and the RNCM. Peter has appeared as soloist with most British orchestras, given concerts delighted children all over the world. He died in 2006. in Europe, Russia and Japan and broadcast regularly on BBC Radio 3. Peter’s commercial The Sonata for violin and piano, composed in 1979 and revised in 1985, was given its first recordings reflect his passion for 20th century and contemporary music. They include CDs of performance at the King’s Theatre Gloucester by Claire Piper and Stephen Lea in August 1989 Satie (for EMI and awarded a Silver Disc), 2 volumes of American Piano Sonatas for Virgin as part of the Three Choirs Festival Fringe, and is Hurd’s most substantial chamber work. It Classics (following the award of a prestigious Churchill Fellowship to the USA) and Michael shows the influence of the music of his teacher Lennox Berkeley and the Parisian school of ‘Les Nyman’s The Piano Concerto with the Royal Philharmonic Orchestra. Six’. The first movement is energetic, with a bitter-sweet melody supported by throbbing piano chords as its main theme. The second movement is a short and simple cantilena in ternary Richard Howarth, after studying at the Royal College of Music in London, worked with the form, whereas the finale is a set of free variations, in constantly changing metres, on the folk- City of Birmingham Symphony Orchestra, BBC Concert Orchestra and as Leader of the Ulster like tune stated at the start. Orchestra before becoming Leader of Manchester Camerata. He has been a guest leader The Five Preludes for piano, dedicated to two Australian friends, the composer Michael Easton with the Royal Liverpool Philharmonic Orchestra, the BBC Scottish and Welsh Symphony (another Lennox Berkeley pupil, British-born) and the pianist Len Vorster, were also first Orchestras, the BBC Philharmonic, the Halle, Orchestra of St John’s Smith Square, Scottish performed in August 1989, in the Concert Hall of the Melba Conservatory, Melbourne, by Len Chamber Orchestra, East of England Orchestra and Bournemouth Sinfonietta. Richard directs Vorster. The first is a (mainly) two-part invention, the second more passionate prelude is based Manchester Chamber Ensemble and is a member of Trio Melzi with cellist Jonathan Price on chains of ascending perfect fifths, and contrasts with no. 3, a gentle waltz. The slow fourth and pianist Sarah Beth Briggs.In recent years Richard has been in increasing demand as a prelude is in the nature of a chorale based on simple triads, whilst the final piece is a poised conductor. He has conducted Manchester Camerata, the Ulster Orchestra, Royal Liverpool but rather skittish jig. Philharmonic Orchestra, the London, Scottish and Manchester Concert Orchestras and, from The Sonatina for recorder and piano was first published for flute and piano by Novello the violin, has directed Manchester Camerata and the Scottish Chamber Orchestra. As an & Company in 1964, being one of the composer’s first acknowledged works; despite being educator working with amateur groups, he is Principal Conductor of Sale Chamber Orchestra some 15 years younger than the Violin Sonata it shares the same influences in its melodic and Sheffield Chamber Orchestra and has just been appointed conductor of the 4 13

msv 28522 Booklet.indd 7-8 28/4/11 09:44:37 The performers

John Turner is one of the leading recorder players of today. Born in Stockport, he was Senior lyricism and rhythmic verve. The composer in fact acknowledged that he wrote this work Scholar in Law at Fitzwilliam College Cambridge before pursuing a legal career, acting for in emulation of the well-known Sonatina by Berkeley, and it was at the suggestion of and in many distinguished musicians and musical organisations (including the Halle Orchestra, the close consultation with John Turner, that a version was made by the composer for recorder Royal Northern College of Music and the National Youth Orchestra of Great Britain), alongside and piano, so that it could enter the repertoire of both instruments. The first performance of his many musical activities. These included numerous appearances and recordings with the new version was given by John Turner and Peter Lawson at the Royal Northern College of David Munrow’s Early Music Consort of London, the Academy of Ancient Music, the English Music in March 2003. The first two movements (a long-breathed lyrical Allegro and a short Chamber Orchestra, the Academy of St. Martin-in-the-Fields and the English Baroque Soloists. and beguiling canzonetta) are scored for treble recorder – the player taking the descant recorder for the very lively march-like final movement.

He now devotes his time to playing, writing, reviewing, publishing, composing and The Three-Piece Suite, written for and dedicated to John Turner, was the composer’s final generally energising. He has played as recorder soloist with the Halle Orchestra, the work. The first two movements were adapted from interludes, originally for flute and piano, Royal Liverpool Philharmonic Orchestra, the Manchester Camerata, and many other in a choral cantata Three Saints in One. The Introduction (using the descant instrument) is leading orchestras and ensembles. Concertos have been written for him by Gordon bright and pert with a largely triadic accompaniment from the strings. The second movement, Crosse, Anthony Gilbert, Peter Hope, Kenneth Leighton, Elis Pehkonen, Alan Bullard, Song (using the treble recorder) has a gentle very English-sounding tune in G major, warmly Arthur Butterworth, and many other distinguished composers. His recordings include accompanied by lush string harmonies, whose simplicity is tantalisingly “skewed” by no less than five sets of the Brandenburg Concertos, as well as the F Major version of constantly varying time signatures. The final Dance (again for descant), with its oom-pah Brandenburg Concerto No. 4 with Menuhin and George Malcolm, but lately he has made accompaniments and teasing silences, is stately rather than merry, and recalls in style British numerous acclaimed recordings of the recorder’s contemporary concerto and chamber nineteenth century operetta composers (of whose music the composer was a fan). The work music repertoire, including four solo concerto discs, all of which have received critical exists in versions for recorder and piano, recorder and string quartet (as here) and recorder acclaim. In the last few years he has played in Germany, Switzerland, Poland, France, New and small string orchestra. The first performance (in the piano version) was given by John Zealand, Japan and the USA, and given many recitals on Radio 3 with pianist Peter Lawson. Turner and Nicholas Marshall in Winchester Cathedral in June 2004.

ROBIN MILFORD was born in Oxford in 1903, the elder son of Sir Humphrey Milford, the In all, he has given the first performances of over 500 works for the recorder, including works titular Publisher of the Oxford University Press and the founder, in 1923, of its Music by many non-British composers, including Leonard Bernstein, Ned Rorem, Peter Sculthorpe, Department. He was educated at Rugby School (where his instruments were the piano and Douglas Lilburn and Ruth Zechlin. Many of the works he has premiered have now entered the flute, the latter of which was to figure extensively in his output), and the Royal College of the standard repertoire, and these and his own recorder compositions are regularly set for Music, studying composition under both Holst and Vaughan Williams, the latter becoming, festivals and examinations. He edits series of recorder publications for both Forsyths and with his one-time near neighbour Gerald Finzi, a close and valued friend. Many of Milford’s Peacock Press, and founded the periodical Manchester Sounds, in response to the perceived early compositions, published by Oxford University Press, catered for amateur choral threat to music libraries in Great Britain. In addition he was responsible for the discovery of societies, but his output extended to most genres, including two unperformed operas,Vertue 12 5

msv 28522 Booklet.indd 9-10 28/4/11 09:44:38 and The Scarlet Letter, a symphony, a violin concerto, large scale sonatas for violin and flute, and numerous orchestral and chamber works, in addition to a large quantity of songs and piano Richard Howarth and organ music. Arguably he was at his best as a miniaturist, where his gift for memorable melody was most apparent, and he showed a distinct fondness for “neo-baroque” turns of phrase and cadences. Throughout his life Milford suffered from clinical depression and a severe lack of musical self-confidence, exacerbated by the accidental death in a road accident of his only son Barnaby in 1941, and later, in 1959, by the remaindering of much of his music by his principal publisher. He took his own life, with an aspirin overdose, on 29th December 1959.

Milford’s oratorio A Prophet in the Land, performed at the Three Choirs Festival Gloucester in 1931, is historically significant as being the first twentieth century concert work to incorporate a part for the recorder, although, as A. H. Fox Strangway’s review in The Times makes clear, in the absence of a suitable instrument at the time a flute was used in the performance; the part for “treble recorder in B flat” (perhaps the composer misunderstood the pitch of an eighteenth century treble recorder, the part being transposed up a tone in the manuscript) had been cued into the flute parts as the composer required. The distinguished musicologist Percy Young attended that performance and wrote: “There being a predominance of the elderly at Three Choirs Festivals, I felt that Milford was a composer whose music had a congenial simplicity.” The oratorio included several “pipe tunes”, one for recorder with accompaniment of a flute a viola and a harpsichord, and another for recorder with harpsichord. The second of these recorder pipe tunes became, with some judicious padding of the accompaniment, the second of the Three Airs, despite the composer’s admonition in the manuscript score of the oratorio not to perform it with recorder accompanied by piano!

The three recorder works on this disc were the last pieces by Milford to be published in his lifetime, and all remain stalwarts of the recorder repertoire, being also the last of his works Jonathan Price to stay in print. The Sonatina in F is the most substantial of the three, with its neo-classical, almost Haydnesque, outer movements framing a desolate but haunting Andante whose 6 11

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accompaniment is built almost entirely on bare fifths. The brief but exquisiteChristmas Pastoral was dedicated to Caroline Whistler, daughter of the glass engraver Laurence Whistler, some of John Turner whose poetry the composer was to set around the same time. All these late works remarkably belie the personal distress of the composer at the period when they were composed.

The short but very dramatic Prelude for piano trio was dedicated to Vaughan Williams on his 85th birthday, and was first performed in a Macnaghten Concert at the Arts Council in October 1957, by Maria Lidka, Christopher Bunting and Franz Reizenstein. However the composer’s own list of works appears to suggest it was written some ten years earlier as part of a piano trio, the other movements of which are now lost, possibly destroyed by the composer.

The Fantasia in B Minor for string quartet was composed in 1945 and dedicated to the memory of the composer’s mother. It is a deeply felt piece, in which Milford works on a larger scale, with more thematic development than in the other works on this recording. There are three sections. In the first, two themes, both treated canonically – the one gently lyrical and the other an obsessive four note motif frame one of Milford’s most memorable and “English” tunes, lightly harmonised. The slow and soloistic middle section, which culminates ina short violin cadenza, was suggested to the composer “by one of Frederick Austin’s delightful accompaniments to the Beggar’s Opera music.” The final section reprises the three themes of the work’s opening section, culminating in a serene sustained chord of B Major.

DICK BLACKFORD was born in Bristol in 1936, and studied composition under Humphrey Procter-Gregg and Christopher Edmunds at Manchester University before embarking on a Peter Lawson teaching career spanning 36 years. During this time he constantly supplied compositions for pupils, friends and local musicians. In 1995 he retired from his post as Head of Music at York Sixth Form College in order to devote his time to composition. Since than many commissions have come his way, including two Overtures, Marinus and Scorpio, performed and recorded

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msv 28522 Booklet.indd 13-14 28/4/11 09:44:41 Michael Hurd by the York Guildhall Orchestra under Simon Wright, a string Serenade, a Trio for clarinet violin and piano, an unaccompanied Mass for the Chapter House Choir of York Minster, and a cantata The Prophet. He has written concertos for piano, harpsichord, clarinet, trumpet and cello, as well as a Serenata Concertante for two horns and orchestra.

His published works include (beside the Clarinet Concerto), a trio for woodwind instruments, a Sinfonia Concertante for solo woodwind and orchestra, books of madrigals, and several unaccompanied carols for choir, one of which was performed by the Choir of King’s College Cambridge in its Annual Festival of Nine Lessons and Carols.

Of the Recorder Concerto, the composer writes: This chamber concerto has three movements enfolded by a Prelude and a Postlude. The connection between the baroque era and the recorder was foremost in my mind when composing. Both the Prelude and the Postlude share its influence, as does the second movement, to a lesser extent. The first movement flows in a quietly restless manner with the principal theme announced first on the treble recorder, but soon the mood brightens with a new idea marked “giocoso”. A third theme appears – folk-like in substance, and the three themes are developed, with the opening section being recapitulated quietly and bringing the movement to an end. The central second movement features at the start and finish the remarkable bass recorder in slowly evolving melody which exploits the timbre of this lovely instrument. A middle section heralds a pastoral mood which leads to a happy little waltz on the treble recorder. The movement concludes with a varied reprise of the first section. The third movement is the longest of the three, and is energetic from the start. The theme, for the descant recorder, is a vigorous rising semiquaver figure. The mood rhapsodically unfolds, and a new melody in triple time gradually takes over. These two main themes dominate through the ensuing bars, before a long coda brings the movement Robin Milford to an end – but not quite! A suspended chord on the strings leads into the Postlude which employs the same quasi-baroque material as the Prelude. Notes ©2011 John Turner Dick Blackford 8 9

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