BRITISH MUSIC SOCIETY

nJANUARY 2018 ews MAXWELL DAVIES AND HIS LAST ISLAND HOME

THE MUSIC OF BETTY ROE

ECHOES OF LAND AND SEA Maria Marchant’s mesmerising journey Agenda British Music Society’s news and events

DATE FOR YOUR DIARY Chairman’s welcome

he BMS has entered into a new working relationship Twith Revolution Arts who are assisting with the monthly E- Thanks News and the design of the Printed News. A transition pe - Hitchin Symphony a lot riod caused a slight delay in the Orchestra edition you are reading but all is now back on course and past is - 19 May 2018, 7.30pm Harold! sues of Printed News will be St Mary's Church, Hitchin SG5 1HP made available on the home page British Music Society of the BMS website for the wider Conductor Paul Adrian Rooke is hugely grateful to readership. Harold Diamond who Our British Art Song Com - John McCabe Concerto for Chamber Orchestra is now stepping down petition goes from strength to Malcolm Arnold Concerto for viola and after many months of strength in conjunction with the Chamber Orchestra sterling work with E- London Song Festival and plans Soloist Helen Sanders-Hewett News. We are now on are being made for this year’s the lookout for a forthcoming competition. Turn Mendelssohn Symphony No.3 replacement to help to page 17 for more information steer future editions. about BASC 2017 that took place Tickets: 01462 458614 Do get in touch if you in the autumn. BMS member or www.wegottickets.com think you can help. Madeleine Mitchell has just sub - £14* (Adults), £12* (Concessions), Under 16s mitted a report on her BMS Am - free. bassadorship in the USA which * £2 discount if bought by Wednesday will soon be available for mem - preceding the concert. bers to read and comment on, and major work has begun up - Note: John McCabe was President of Hitchin dating the Recording and Publi - Symphony Orchestra from 1984-2015 and his cation pages on the website to widow, Monica is now Life vice-President reflect the entire output of the Society from its very beginning. I wish all our members a healthy and successful 2018 and British Music Society Committee hope to see as many you as pos - Wendy Hiscocks (Chairman), John Gibbons (Vice Chairman), sible at our next AGM this Sum - Stephen Trowell (Treasurer), Advisory roles: Karen Fletcher mer! Wendy Hiscocks Programme designed by Revolution Arts

-2- Introducing The Cusp

Hannah Nepil is a London-based adaptation of Shakepeare's classical music journalist and *Winter's Tale*, two piano recitals editor, mostly oscillating between at the Southbank Centre, and a the worlds of the Financial Times concert of 17th century English and Gramophone magazine. In tavern music, along with half price addition to this she runs The Cusp, tickets on a production from a magazine which focuses on the Opera Erratica, amongst other intersection between art forms. events. And there will be plenty The Cusp have recently more! introduced a new scheme which All that readers need to do to allows subscribers access to a claim the offers, is to sign up to range of discounted and free their newsletter at tickets to London arts events, both www.thecuspmagazine.com quirky and mainstream. So far, for Subscription is completely example, they have offered free free, and only takes one minute. tickets for a cross-genre

Bid to record music of Graham Whettam needs your support BBC Radio 3

LEASE help us achieve our goal solo violin with the aim of reawaken of producing a recording of the musicians' and audiences' interest in ‘In Tune’ Pmusic of Graham Whettam. Graham Whettam's work, and lead to As many members of the BMS will more opportunities for performances appearance know, Graham Whettam (1927–2007) and recordings of his music generally. was a largely self-taught composer who We already have some financial N Wednesday 22 occupies a place in the English support from the RVW Trust and from November BMS chairman symphonic tradition. Spanning a individual donors. A crowdfunding Oand artistic director of period of over 40 years, his works for campaign is currently in place to raise Celebrating Australian solo violin are informed and directed the further £4,200 needed for the Music Wendy Hiscocks together by compositional rigour, technical recording. with singer Christopher Gillett assurance and an analytical musical If you would like to support this gave an interview with presenter grammar but, at the same time, are full project, please visit rupertmarshall- Sean Rafferty (pictured above) on of vivid colour, dramatic inventiveness luck.com where you can donate BBC Radio 3’s IN TUNE. and, above all, a sense of deep through PayPal. Wendy and Christopher humanity. Benefits include a free copy of the talked about the latest BMS Christine Talbot-Cooper, disc upon its release, an invitation to recording with the new Naxos CD Chairman of the Gloucester Music the CD launch event, and the release featuring songs by Edgar Society and a Vice-President and opportunity to attend the recording Bainton an Arthur Benjamin. In Administrator of the Piano Trio Society sessions. addition, they performed four of and I are working with the acclaimed - Rupert G. Marshall-Luck MA the songs from the CD live in front label EM Records to present World (Cantab) MMus (Distinction) of a studio audience. Première recordings of his works for

-3- Reviews Maurice Jacobson: Themes and Variations Looking back to this recently rediscovered BMS recording issued on Naxos 8.571351, June 2014

S I prepared to listen lected works has been Great War (11 November dental pieces — all written to this unfamiliar made possible with assis - 1918) he studied composi - between 1935 and 1949. Acomposer, I unwit - tance from the Michael tion with Charles Villiers These interpretations tingly stifled a yawn. Then, Hurd Bequest, support by Stanford and Gustav Holst. with the composer's pianist within the first bars, my the British Music Society In 1923 he joined the son Julian Jacobson reap undivided attention was and dedication by the com - music publishing firm of J the benefits of access to captured. I discovered an poser's younger son, pi - Curwen & Sons as a music original manuscripts and unfailing clarity in Maurice anist Julian. reader. Ten years later he an unparalleled intimacy Jacobson's workmanship. While Maurice Jacob - was made its director and with the composer's inten - His expertise was clear son is hardly a household later its chairman (1950- tions. Julian has performed as themes were worked out name among the British 1972). In 1971 he was all of Beethoven sonatas with admirable craftsman - concert music public, he awarded the OBE. during a single day on three ship. The shape and dura - has left some four-hun - Jacobson senior was occasions. tion of each work was dred-and-fifty composi - born into a Jewish London Following the third judged to a nicety. More - tions. By the age of sixteen family and was immersed such marathon in 2013, The over he steered a course he had memorized the in the great 'classic' Austro- Daily Telegraph wrote: 'A well away from composi - Well-Tempered Clavier and German and French reper - disarming technique cou - tional experiments sweep - all thirty-two Beethoven toires. The works recorded pled with an undoubted in - ing through Middle Europe Sonatas. He studied at the here include two sets of tellectual mastery made early in the twentieth cen - Modern School of Music theme and variations, two Julian Jacobson's recital an tury. and Royal College of Music. biblical settings, five piano awe-inspiring experience. This programme of se - And with the end of the miniatures and five inci - - Howard Smith

A contemplative version of Elgar’s Violin Sonata British Music for and-circumstance’ days. bow-work breathes revi - The remaining 10 short The work was written in talised life into this vintage tracks literally bubble with a Violin and Piano a secluded cottage in West collection of some of vivaciously charming display Elgar, Violin Sonata plus a Sussex, in sharp contrast to Britain’s well-treasured, of the best of British. The collection of 19 short pieces those feverish imperial Ed - vivid, little gems, ranging recording includes endear - by British composers wardian march days that at through works from highly- ing titles like Country Dance, Clare Howick: violin the time made Elgar so pop - acknowledged masters like Lullaby, Gentle Maiden, John Paul Ekins: piano NAXOS 8.573291 ular. The Sonata for Violin Bridge, Delius, Ireland and Bumble Bee and Cavatina and Piano was premiered in Scott. which all sum up the joyous DEEPLY contempla - 1919 at a meeting of the This 22-track budget attraction of this infectious tive version of Ed - British Music Society. collection boasts some deft release. Award Elgar’s very Clare Howick (violin) keyboard playing from The last word comes personal Violin Sonata opens and with the excellent, expe - Ekins.. The serious Sonata from Elgar himself with an up this otherwise collection rienced pianist, John Paul teems with vintage Elgarian affirmative, punchy, perfor - of appealing British minia - Ekins, perform convincingly themes and ideas which the mance of his Mazurka (1899) tures. The nationalist mas - together, showing a great composer’s wife, Alice, said which bursts with verve and ter’s compelling chamber understanding between key - was inspired by the ‘wood jollity. music is totally at odds with board and strings. magic’ of a copse near the - Chris Bye Elgar’s vivacious ‘pomp- Ms Howick’s impressive couple’s home.

-4- REVIEWS Ubiquitous pen of a British master

Ralph Vaughan The subliminal open - ing cor-anglais theme is Williams gently and seductively de - The Poisoned Kiss veloped into the full or - overture; Three Portraits chestral plaintive cry, from ‘The England of coaxing listeners into the Elizabeth’; Bucolic Suite; In magical, mystical mists of the Fen Country; Fantasia on Sussex Folk Tunes; the Fens. The gentle ebb of Rhineland Philharmonic the impressively controlled Karl-Heinz Steffens, French horn solo adds to conductor; Martin Rummel, the ethereal atmosphere. cello Haunting, indeed. Capriccio C5314 Mr Steffens’ admirable enthusiasm is beautifully ARELY performed restrained in this sym - musical works phonic poem which the Rspanning over half a composer revised twice century coming from the and insisted that it was ubiquitous pen of British more of a work of “sym - master, Ralph Vaughan phonic impressions”. Williams, are wonderfully It certainly gives ad - pristinely delivered by Portraits from the England captured in this new re - vance notice of the moving highly competent wood - of Elizabeth (1955) with lease. musical magnificence that wind and brass sections some splendid brassy fan - RVW’s teasing tunes was destined to come in with a background of lush fares that contrast sharply from the infectious Bucolic Vaughan Williams’ subse - strings. A highly polished with that irrepressible Suite (1900), right through quent, awesome sym - and animated performance sense of RVW wit and to the powerful majesty of phonic literature. of the Fantasia on Sussex charm, particularly in some ‘The England of Elizabeth’ The overture heading Folk Tunes continues in the perky passages from the (1955) are here vividly per - RVW’s comic three-act same passionate vein. All Rhineland Orchestra’s formed by a high-calibre opera, The Poisoned Kiss, the unadulterated fun of flautist. German orchestra and also makes rare but no less archetypal RVW scores re - At the heart of this fine conductor. engaging listening. This lentlessly ring out with release is an exceptionally Karl-Heinz Steffens sparkling collection of great flair. Martin Rummel emotive version of In the expertly marshals his lesser-known Vaughan bolsters the feeling with Fen Country (at more than Rhineland players and Williams pieces success - some impressive solo cello 15-minutes, the longest and gives authoritative inter - fully treads a welcome playing. the most melancholic piece pretations which expose path, emphasising a well- Buoyant orchestral ge - of this collection). Here we that quirkier, tuneful side celebrated, distinctive style nius is brilliantly ensnared find RVW in an even more of the Vaughan Williams we that was destined to bring by some impactful, up-to- melancholic mood, in - have all come to love. British music to the very the-minute record engi - spired by the then far more The Bucolic Suite liter - heights of the art world. neering. A more mature gloomy and lonely world of ally teems with some lovely - Chris Bye Vaughan Williams England’s East Anglian orchestral colours, emerges in the Three marshlands.

-5- REVIEWS Echoes of Land Britten, Ronald Stevenson, Kenneth Leighton, Holst, Ireland,

HIS is a hugely enjoy - poser said on the rise and able disc of seldom fall of Grimes. The fugue Tperformed piano material gets mixed vio - music by British composers lently with the storm music of mainly the mid twentieth before a quiet coda based on century. All are in a tonal the ‘What harbour shelters idiom and all eminently ac - peace’ music which ends the cessible. The best known work even if it does not re - work which opens the disc is solve it. The seven minutes Britten’s Holiday Diary Op.5 are packed with a sym - which he wrote when he was phonic intensity and I am 20. It is odd that for one not entirely convinced Ms who was such an accom - Marchant has got the mea - plished pianist to write so sure of its drama or struc - little for the piano and from ture. The Sorabjian textures the quality of the writing need careful colouring here it is a great pity that which she just misses out there was not much more. on. As befits the writing of a 20 John Ireland (Britten's year old much of the suite is teacher) is represented by exuberant and lively and the his haunting Ballade of Lon - writing virtuosic. Yet it is in don Nights, one of his more the two slow movements popular works which and in particular the final sounds here like Debussy on Night which shows where steroids. Ireland’s lyrical Britten would go in terms of melodies are coloured by emotional depth and how quite violent dissonances even barely out of his teens and the occasional cluster; the darkness which his London night is nothing coloured much of his later if not eventful. Ms Marchant recent virtuoso arrange - veloped from the opening work was present. Ms beautifully balances the vio - ments. Both this and an four note motif and they do Marchant is well up to the lence with tenderness man - original work Goodwood- take some getting in to but challenges of both virtuosity aging a fine shaping she by-the-Sea were written by bear repeated listening. The and depth of feeling. missed out on in the Steven - Roderick Williams especially piano writing by another The Peter Grimes Fan - son. A premiere follows with for Maria Marchant and are fine pianist/composer is ex - tasy by another expert pi - the first recording of Ire - lovingly performed by their citing throughout and Ms anist, the late Ronald land's most famous song Sea dedicatee. Marchant navigates the Stevenson, certainly fo - Fever in a free arrangement Kenneth Leighton’s sel - stormy waters admirably. cusses on darker aspects of for solo piano by baritone dom heard Six Studies for Holst’s small contribu - the opera. The work is not Roderick Williams. This is Piano – Study Variations are tion to the piano repertoire one of those playful 19^th much more in line with the a major work by this signifi - written between 1924-32 century operatic fantasies operatic fantasy than the cant composer who died far make up the rest of the disc. but a mainly dark hued Stevenson and reminds me too young. They are thorny They are mainly delightful fugue based as the com - of some of Stephen Hough’s pieces all economically de - arrangements of folk song,

-6- REVIEWS and Sea Roderick Williams. Maria Marchant (piano) - SOMMCD0174

three of which are from request of his daughter are-- the pianist making lated into an idiom in which Northumberland. The Toc- Imogen for whom they were the most of their limited it seems entirely at home. cata based on the Northum- a 21st birthday gift do not piano interest. The disc is very well brian pipe tune the include any folk song al- The last work is Vally recorded with the sound of Newburn Lads has always though the idiom is never Lasker's arrangement of Southampton University’s been a favourite of mine, far away. The first has an al- Holst's Brook Green Suite. It Turner-Sims Concert Hall though I remember it being most Middle Eastern sound works surprisingly well on beautifully captured. The rather ungrateful to play, to it while the Jig is a rather the piano as does Lasker’s cover of the booklet gives though not to listen to. The cerebral deconstruction of arrangement of the St no clue to the delights on final bitonal pages are as the dance form with many Paul’s Suite, which it would the disc and is best ignored. surprising as they are de- mood and tempo changes have been good to have here - Paul Jackson lightful. The Nocturne and in its brief length. Here all as well. Both Ms Lasker and Jig are more substantial the works sound more sub- Ms Marchant make the works and at the specific stantial than they really most of the music trans- Flying high with 100-year RAF celebration

Royal Air Force sembles and there are no notes on always exciting, while Those Magnifi - 100th Anniversary the music itself which is a pity as I cent Men in Their Flying Machines, is would have liked to know something as riotous as always. The rest of the Various Composers of the development of the repertoire. discs are made up of some less well The Central Band of the RAF The Band of the RAF College known marches and light popular The Band of the RAF Regiment classics including Jimmy Van Royal Air Force Swing Wing Heusen’s and Sammy Cahn’s Come WG CDR Duncan fly me with, a great arrangement, but Stubbs (Conductor) something of a shock after the Spit - Two discs: Chandos 10972(2)X fire Prelude. A nostalgic nine min - utes track of Songs that saw us HIS is a wonderful two disc set though takes us through In the recorded to celebrate the cen - Mood; A Nightingale Sang in Berkeley Ttenary of the RAF. Three RAF Square; We’re Going to Hang out the bands plus the RAF Swing Wing take Of the serious works the Walford Washing on the Siegfried Line; Kiss part all conducted by Wing Comman - Davies/George Dyson RAF March Me Goodnight, Sergeant-Major; Run der Duncan Stubbs. There is a wide Past kicks off the proceedings and the Rabbit Run and I'll Be Seeing You. range of music here from the serious, set finish with the dignified Dam - Sadly, the excellent singers are not to the popular; the changes can be a buster’s March. There is also Wal - credited. The Queen medley little disconcerting sometimes and I ton’s Spitfire Prelude sans fugue and stretched my tolerance. would have preferred it if more a welcome recording of his ne - On my computer the disc infor - thought had been given to which glected Battle of Britain Suite. There mation was only in Chinese, I hope track followed which. The playing is are three film themes from Ron they have sorted this out. A great set as one would expect faultless, this Goodwin, who infamously replaced at a great price and on a long car music is in these musicians’ blood. Walton on the film of Battle of Britain, journey there would be no chance of The booklet concentrates on the en - 633 Squadron is rightly famous and falling asleep. - Paul Jackson

-7- REVIEWS Beacon shines Sir Peter’s last Chris Bye revels in Maxwell Davies’ brooding music conceived

The Last Island light for the very first time. Powerful close record - Chamber Music by Sir ings, perhaps appropriately Peter Maxwell Davies made at Greyfriars Kirk, Ed - Hebrides Ensemble. inburgh, deliver chamber Delphian DCD-34178 music with all the force and expression of a full-blown RITAIN’S idolised symphony orchestra. ‘Max’ is still with us in Highly-pitched, searing Bspirit and will forever strings (at times literally haunt music enthusiasts screaming) blend impres - worldwide. This collection sively with lower grinding of touching works and violas and cellos to achieve miniatures underlines that finely judged harmonies. Ar - conviction, well beyond any ticulate pianism and dra - doubt. matic pizzicato-plucked The evergreen Sir Peter strings add to the overall Maxwell Davies wrote many impact of wild and wind- chamber scores before his blown Hebridean seascapes tragic death on March 16, and landscapes. 2016. His internationally- The title work The Last renowned output leaves an Island together with the inextinguishable beacon, sparkling Sonata for Violin brightly shining and beam - and Piano and the penetra - ing far-beyond his treasured tive String Trio are the sub - Orkney Island home. stantial pieces among this Instrumentalists mak - enlightening 10-track col - ing up The Hebrides Ensem - lection. ble, capably led by cellist, The Last Island boasts William Conway, are won - some polished string-work derful Maxwell Davies am - and revels in brooding bassadors. This truly music which was conceived atmospheric release high - on a small island off Orkney lights many moving and which can only be reached charming scores which fi - by foot at low tide. The com - nally see well-deserved day - poser himself succinctly

-8- REVIEWS brightly from island home on a small island off Orkney, reached only by foot at low tide

summed up the inspiration Postcard from Sanday and A behind this picturesque Birthday Card for Jennifer. music: “It is the home to This release certainly rare wild flowers and birds serves to illustrate both the and is reputed to be the serious and lighter sides of resting place of hundreds of Britain’s popular compos - shipwrecked mariners who ing guru Peter Maxwell have perished on rocks Davies. His lamentable through the centuries.” passing in March 2016 Committed musician - leaves a chasm. On the ship and an up-to-the- strength of emotionally- minute recording charged performances like technique combine to make this, Max’s indefatigable this a compelling sound of musical legacy will live on five-star quality. It embel - forever. lishes those vivid, quirky Perhaps the saddest and contrasting famous piece on this release is the Max moods. A deep expres - one movement of an unfin - sive longing in the slow, ished string quartet. Max sleepy Lullaby ebbs and was feverishly working on flows along beautifully. this before his cruel, termi - eras and 10 symphonies. stant appeal with the ever- This perceptive compi - nal illness finally took its Those more traditional popular Farewell to Strom - lation of late works comes grim toll. It is a moving listeners who take fright at ness -- a glorious survivor as a reflection on the farewell. contemporary atonality will we all cherish. Other exam - widely-celebrated genius of The final ethereal find this release an enjoy - ples of that infectious Peter Maxwell Davies, notes seem to mournfully able and stimulating way to Maxwell Davies versatility whose lonely artistic en - fade away…. discover a more animated emerge in the lightweight deavours in the desolate - Chris Bye side of a composer who dis - humour of two short-but- Orkneys inspired so many played a consummate talent sweet anecdotal piano great works, including op - for creating melodies of in - pieces wistfully entitled

-9- REVIEWS Hanson, a composer who certainly knows his craft New CD celebrates the work of composer Geoffrey Hanson

OMPOSER Geoffrey Odyssey and there are some built up Hanson is a new dissonances. The ‘glory to Cname to me but one Five Nocturnes for tenor and chamber orchestra (2009) the son’ seems to be not whose acquaintance I am Concerto for Clarinet and Strings (1988) without reservation and the very happy to make. He is Orpheus for chorus and piano (1984) decisive final major chord Jubilate Deo (Psalm 100) for chorus and organ (1983) well known as a conductor Odyssey: Concerto for Cello and Strings (2012) by the choir seems to be and as the founder, more Now Welcom Somer for chorus (1978) questioned by the final than fifty years ago, of the chord on the organ. London Ripieno Society. Som Howie (clarinet); Sebastian Comberti (cello); Pablo The final Now Welcom Under him the society in Strong (tenor); Helena Thomson (soprano); Sandra Smith Somer is an a cappella work addition to performing (piano); Jonathan Dods (organ); London Ripieno of five songs for - and I Society/Geoffrey Hanson Baroque music, has per - London Mozart Players/Geoffrey Simon sense a theme here - a very formed music by composers accomplished choir: Now in the genre so out of favour CALA CACD77026 Welcom Somer (Chaucer), post Glock -- Tippett, Raw - Winter is Cold-Hearted sthorne, Britten, Burgon, et some swooningly lyrical Romantic, and hugely ap - (Christina Rossetti), Bed in al. This disc is the result of melodies. pealing. The spikiness of Summer (R L Stevenson), one of those excellent The 18 minutes of the the clarinet work is re - Beside the Idle Summer Sea crowdfunding campaigns one movement Clarinet placed by beautiful lyrical (W E Henley) and On the and celebrates his work Concerto of 1988 never out - writing that sits beautifully Idle Hill of Summer (A E with the orchestra. The disc stays its welcome. It is on the cello. It is well there - Housman). All are highly in - contains three works for thorny in the sense that fore that soloist Sebastian ventive and engaging - how chorus, two brief concertos some Rawsthorne can be Comberti has a warm difficult it is to be inventive and a song-cycle for tenor thorny. Like Rawsthorne, singing tone and is wonder - while working in a tradition and orchestra. All of the Hanson economically de - fully integrated into orches - rather than in an experi - music is written in highly velops the work from some tral texture. The cello does mental idiom - Helena approachable tonal idiom simple rhythmic motifs. not get off with being all the Thomson is captivating in reflecting the influence of This music is not experi - dark lover however and is the magical solo in Bed in some of the composers mental - at least not in any put through its virtuoso Summer. mentioned above, though by thorny sense. It captures all paces with some tricky dou - All of the works are the end of the disc one re - the moods of the clarinet ble and triple stops and fast beautifully written by a alises that Hanson has a from spiky to lyrical and passage work until the con - composer who certainly voice of his own. sensual. It is a welcome ad - certo gently slides away to knows his craft. It is the The Five Nocturnes is a dition to the British clarinet silence. type of accessible British concise song cycle beauti - repertoire. Orpheus, to words by music that will never be fully executed by a singer to The cello concerto Osbert Sitwell, is for an ac - programmed by a major or - watch -- Pablo Strong. The Odyssey was composed a complished choir with an chestra, so we are lucky to orchestration is clear and quarter century after the interesting piano part that have the works on a very expressive and never over - clarinet work. Like it, it is is more than mere accom - well-produced disc. whelms the soloist. The also in one movement but as paniment. Jubilate Deo, for - Paul Jackson vocal writing is often befits the instrument is again, an accomplished declamatory in the style of more dramatic and emo - choir the piano replaced by Britten but there are also tional; in places it is even organ is not all jubilation

-10- REVIEWS ‘An enthralling showcase of contemporary art song’

Quickening prano, Anna Huntley and pi - in a production directed by anist, William Vann, convey Ian Caddy and conducted by Songs by Robert Hugill to texts by English and Welsh the essential delicacy and David Roblou. Hugill’s most poets intimacy of a salon-style recent opera, The Genesis of baritone, Johnny Herford; vocal recital. Frankenstein, was pre - violist, Rosalind Ventris; Robert Hugill is a Lon - miered by the Helios Collec - mezzo-soprano, Anna don based composer, jour - tive in 2016 in London. He Huntley and pianist, nalist, blogger and lecturer has recently completed William Vann. who runs the highly re - Tempus per Annum, a cycle Navona Records NV6121 garded classical music blog, of 70 motets for the church’s ‘Planet Hugill’ (** www.plan - year which consists of over RITISH composer, Songs to Texts by Ivor Gur - ethugill.com 45 hours of music and has Robert Hugill, is de - ney. Here, instead of fitting (http://www.planethugill.co released all the motets for lighted to announce the poetry to a traditional m/). Hugill’s setting of the free download on the CPDL B song form, Hugill composes the release of his brand-new Advent Prose was premiered website. His songs were recording, Quickening, an something more closely rep - by Alistair Dixon and placed in the English Poetry enthralling and intimate resentative of the text’s nar - Chapelle du Roi in Decem - and Song Society’s A E showcase of contemporary rative, resulting in the ber 2014 at St John’s Smith Housman Competition, Ivor art song. Across the album, sudden quieting of the piano Square and they premiered Gurney Competition and Di - Hugill demonstrates an ex - so that the song’s last lines his setting of Ruth Padel’s amond Songs Competition. ceptional sensitivity to text are sung in as intimate a set - ‘Learning to Make an Oud in Notes Hugill: “I am ex - and melody, both of which ting as possible. Nazareth’ in 2015. London cited to be releasing the first shine through his clear and The album’s titular Concord Singers with con - complete disc to be devoted lyrical musical language. The work, Quickening, stands ductor Jessica Norton pre - to my songs, highlights of four sets of songs on the out both for its defined form miered Hugill’s motet over twenty-five years of album are consummate and its instrumentation of Dominus illuminatio mea in song-writing. Creating modern lieder and one can mezzo-soprano, viola, and December 2016 as part of the songs is a very personal easily imagine hearing them piano. The songs in Quick - choir’s 50th anniversary cel - pleasure for me. Many of the at a private vocal recital ening flow continuously ebrations. songs on this disc were writ - alongside the Romantic song from one to another and, Hugill’s cantata The ten because the texts res - cycles of the nineteenth cen - with the addition of the ac - Testament of Dr. Cranmer onate strongly with me, from tury. companying viola, Hugill is formed part of a disc of his the homo-eroticism of A.E. Hugill’s songs employ a able to exploit a variety of music released in 2008 on Housman’s poetry to the classic approach to vocal textures otherwise inacces - the Divine Art label, per - themes of renewal in writing and are defined by sible for voice and piano formed by the eight:fifteen Christina Rossetti’s. I am smooth melodies and sup - alone. There is also the at - vocal ensemble and the particularly pleased to be portive accompaniments tractive lightness of Hugill’s strings of the Chameleon able to include my setting of that establish the setting for writing for mezzo-soprano Arts Orchestra together with the powerful poem by the text and vocalist. To this in particular, which makes Christopher Wilson (tenor) Rowan Williams, ‘Winter - end, Hugill works with fasci - the sound world of the song and Paul Brough (conduc - reise: for Gillian Rose, 9 De - nating texts on this album, cycle even more inviting. tor). Robert Hugill’s first cember 1995’ and am many of which lead to inter - Throughout Quicken - opera Garrett was staged in extremely grateful to Dr esting and unusual musical ing, both Hugill’s music and 2001 at Hoxton Hall and his Williams for giving me his structures. An excellent ex - the performances of bari - opera When a man knows permission to use the poem”. ample of this is the song, To tone Johnny Herford; violist, was staged in 2011 at the - Karen Pitchford His Love, from the set Four Rosalind Ventris; mezzo-so - Bridewell Theatre, London

-11- REVIEWS ‘An enthralling showcase of contemporary art song’

Guitar Chamber Works

Change-Ringers for four guitars Roundelay for cello and guitar ensemble Divertissement for violin and guitar ensemble Intermezzo (Citharae Chordae pro Pace) for four guitars Hymnus de Sancto Stephano for soprano and guitar ensemble Four Poems of John Clare for voice and guitar The Selevan Story for flute, violin, guitar duo and guitar ensemble

Antonia Gentile (soprano): Hartmut Richter (violin): Evva Mizerska (cello): Octavia Lamb (flute): Michael Butten (Octave bass guitar): Eden Stell Guitar Duo: Mēla Guitar Quartet

NAXOS 8.573762

RESH from an investi - Roundelay sees the cello’s the Intermezzo which has a elements and a pretty fair gation of Stephen expressive lyricism cast slightly troubadour profile. representation of the argu - FDodgson’s richly against the guitars’ conver - They support soprano Anto - ment between the Saint and imaginative Inventions for sational playfulness in a lithe nia Gentile in Hymnus de his neighbour Johana: the Harpsichord, Naxos turns its and engaging performance. Sancto Stephano, written in saint incarnated by the harp, attention to his chamber Evva Mizerska has already honour of Hungary’s patron the scolding neighbour by works with guitar. It was on distinguished herself on disc saint. Linked by ritornelli the other instruments. The the advice of Julian Bream – before, in Dodgson’s music this is beautifully written for beautiful unhurried tread of who premiered the Suite for for cello and piano on Toc - the voice and moves be - the guitars sits at the centre Guitar in 1952 – that Dodg - cata. tween thoughtful and lively of the work in the Pastoral, son turned to the instrument Cast for violin and gui - quatrains. The Four Poems though there’s some and wrote a long sequence of tar ensemble, the Divertisse - of John Clare were written Bartókian influence in the music that continues to be - ment is a seven-movement for Wilfrid Brown and John dance of the penultimate guile. piece composed in 1984. Williams. This has its quirky movement, one feels. The Therefore it’s of consid - Apart from the opening Sin - and athletic contrasts, as be - last, and longest, movement erable interest that this is fonia, the movements are all fits the poetry but the apex tells the grimmest story but the premiere recording of dance-predicated. There’s a of the four is the portrait of ends consolingly. Change-Ringers, a free somewhat elusive, stalking Clare himself in The Peasant The performances are adaptation for four guitars of Musette, a rather beautiful Poet – reflective, interior, unfailingly eloquent and tex - Carillon (1967) which was and wistful penultimate slow and sensitively shaped. tured and the fine booklet written for two harpsi - movement called – a touch Gentile has the almost boy - note from Graham Wade also chords. The delightful play gnomically - Wherever next? ish purity of expression for has full texts. It’s good to of metres and colours is a and to finish an occasionally this set. Finally, there is The know that Dodgson’s music constant delight, whether in impish Rondo with stomping Selevan Story for the inter - continues to generate such fast or slower tempi, and the vitality, rhythmic displace - esting combination of flute, enthusiasm in performers performance by the Mēla ments and a brief though violin, guitar duo and guitar and, I’m sure, listeners alike. Guitar Quartet, almost con - charged lyric segment. As ensemble. Based on the leg - - Jonathan Woolf stant companions through - with Change-Ringers, the end of St Levan this five- out the disc, is splendid. Mēla Guitar Quartet plays movement piece has bardic

-12- REVIEWS Discovering Mathias

ILLIAM Mathias William Mathias it is therefore a valuable who died far too document; in his hands it Wyoung in 1992 Piano Concerto No. 2, Op. 13 sounds like a different work ploughed his own furrow of Llyr Williams, piano; Grant Llewellyn, conductor; BBC to Katin’s recording. Many tuneful accessible works National Orchestra of Wales performers seem to get while many of his peers stuck in the trap of hearing Piano Concerto No. 3, Op. 40 headed off into inaccessi - William Mathias, piano; Moshe Atzmon, conductor; BBC primarily the modal lyri - bility. While some of his Symphony Orchestra cism in Mathias’s music choral and chamber works and neglect the syncopation have entered the repertoire Ceremony after a Fire Raid Op. 63 and dynamic rhythm. Here his brilliantly orchestrated Adrian Partington, conductor; Chris Williams, piano; Andrea Mathias brings those ele - Porter & Matt Hardy, percussion; BBC National Chorus of symphonic music is not ments to the fore. The al - Wales often heard and this new most jazzy syncopation offering from Ty Cerdd is Ty Cerdd TCR016 which is in the work therefore a most welcome throughout helps propel addition to the catalogue, the concerto forward. It is doubly so since it shows the reminiscent of some of the job maintaining a tight en - an exciting performance of composer as pianist. writing in Tippett’s Piano semble and keeping the what turns out to be an ex - I first heard the Piano Concerto with elongated contrasting sections flow - citing work but the sound Concerto No 2 on a Radio 3 melodies overlapping one ing. The work builds to a quality means it must come broadcast in the late 70s another and contrasted thrilling climax and the second to Katin’s version. and have also thought it one with dynamic episodes full players well deserve the The final work is a set - of his finest works and have of syncopated vigour. Syn - warm applause at the end. ting of Dylan Thomas’s Cer - never understood why it copation is a key feature of Where the sound qual - emony after a Fire Raid for has so seldom been pro - this work and the second ity of the 2nd Concerto is chorus, piano and percus - grammed, it could easily movement scherzo in exceptional the same can - sion. This was written in replace Bartok’s 3rd in Williams hands sound pos - not be said for the Piano 1973 for the Scholars with some programmes and all itively jazzy, in contrast to Concerto no 3. This percussionists Tristan Fry would benefit. First per - Bebbington who just lacks a recording is of the world and William Davies. It formed in 1961 the Radio little extra verve. The slow premiere of the work which comes as something of a broadcast mentioned was movement is one of Math - Mathias himself gave in shock after the concertos, probably only its second ias’s Celtic nocturnes, very 1968 in the Brangwyn Hall. beginning with rumbles on outing? It entered the dark and full of emotional It is wonderful to hear piano and pointillist out - record catalogue only in depth which builds and Mathias in the work as he bursts from the percus - 2014 alongside his youthful builds to a searing climax. was a very gifted pianist sion. The chorus enter with Piano Concerto No 1 played Then through some bril - and he brings a much more rhythmic speaking and ef - by Mark Bebbington on liant writing in the brass heightened sense of dy - fect I have never got along Somm. This offering by Mathias seamlessly transi - namic rhythm than does with. It settles down so to Llyr Williams is of a live tions into the finale. This is Peter Katin- who was speak but the effect of the performance though until an exhilarating dance Mathias’ piano teacher - in work is deeply unsettling. the applause at the end one movement the light to the the only other version This is an exemplar perfor - would never know; if only previous dark. All the play - available on Lyrita. But here mance of a tightly con - all audiences were so quiet! ers are put through their the sound quality is below structed work but one to It is a wonderful work in paces in challenging ever standard and very much in which I shall not often re - four movements full of rich changing rhythms and dy - the realm of historical in - turn. lyricism contrasted with namics. All very tricky to terest and it is interesting. - Paul Jackson exciting dance rhythms. keep together but Grant There are few recordings of The opening movement is Llewellyn does a wonderful the composer as pianist and

-13- New Releases The music of Betty Roe

Andrew King rediscovers Roe’s charming and lyrical style

CURSORY scan of the cal of the versatile composer the disc’s eponymous work, lone, open glade’ evoking internet returns a who works according to The Silver Hound is an emo - peace, quiet and reflection, Asadly bleak discogra - music needed for a particu - tional and probing extended whilst The Critic is a bitter phy of CDs featuring the lar occasion, and thus we are setting of a text by Ursula joke at the expense of a little music of Betty Roe. Aside able to enjoy a diverse and Vaughan Williams, elaborat - weed. Anne Marie Sheridan’s from two releases during the interesting recital. From the ing on the Seven Ages of Man wonderful focussed and late 1990s on SOMM, (The serious to the humorous, Roe (As You Like It ). Roe re - clear tone is employed to Music Tree and The Family shows herself a master of sponds dramatically and great effect in a setting of the Tree, both of which appear to word-setting with thoughtful melodically to the subject of Magnificat, whilst also being have vanished from the complementary accompani - a long life through youth to delicately complimented by SOMM website, but are hap - ment. adulthood and Robin Emma Murphy on the pily available second-hand Tritschler exhibits the full recorder in The Life That I from Amazon), this new re - range of his rich tenor across Have. lease on Metier is a welcome “A welcome the work, accompanied by Three Songs for Gra - addition to the abundant and addition to the Daniel Beer on the French ham, performed with some - ever increasing discography horn. A finer performance thing akin to fatherly of English song. abundant would be difficult to achieve. experience by Stephen Var - Featuring a host of ex - The serious nature of the coe, is a brilliant miniature ceptional artists from well- discography of work and, whether by design cycle. The idyllic image of a established and familiar English song.” or coincidence, its scoring perfect round house in The singers Sarah Leonard and makes it the ideal companion Dream House is set against Stephen Varcoe to the cur - piece to Britten’s Canticle III: the humour of The Promis - rent generation of vocalists Still falls the rain, also for ing Gardener who never represented by Anne Marie A broad range of famil - tenor, piano and horn. seems to achieve except good Sheridan and Robin iar and made-to-measure Accompanied by solo intention. My personal Tritschler, the disc is excel - texts lie comfortably side- songs and short cycles too favourite, Scooting, evokes lently recorded and bal - by-side: Shakespeare and numerous to discuss indi - the whimsy of Victorian anced. Nigel Foster who Swinburne, the Book of vidually, several stand out as Music Hall to such an extent accompanies throughout the Common Prayer and Hardy especially entertaining and that one can almost hear it disc is a sensitive and re - sit with Roe’s long-time col - provoked repeat listening: being sung by Marie Lloyd or sponsive pianist. laborator Marian Lines and Two Garden Songs, sung Hetty King with audience Taking its title from the even a text by British music by Sarah Leonard and ac - participation. Finally, The most substantial featured specialist and biographer companied by Madeleine Diva’s Lament, an hilarious work, The Silver Hound, ex - Lewis Foreman. Mitchell on the violin are tale of the over-the-hill OAP plores a range of styles typi - Focussing initially on sweet and funny, ‘In this swings along with amusing

-14- almost misplaced verve, that canon of accomplished En - highlights the truly enviable glish song composers with - ability to successfully achieve out forcing comparison to a range of styles – some her more familiar, often composers can only write male, contemporaries. Tune - thoughtful, serious music, ful and engaging, many of some only humorous and ir - her songs deserve to be reverent – Roe is adept in heard more frequently in both. recital, whilst at the same Though only a few of the time pointing an inquisitive songs that take a place on finger towards an overdue this disc have been dis - exploration of her larger cussed, there are many more works – especially the operas to recommend it. Betty Roe’s and choral works, the latter charming and lyrical style, perhaps being ideal reper - pervaded throughout with a toire for a new disc by one of unique sound of her own, fits the more accomplished uni - very comfortably into the versity choirs.

-15- NEW RELEASES

Winter legends John McCabe’s surprising links to the work of Arnold Bax

USIC lovers who es - piano version of what be - would not immediately pecially connect came the First Symphony on spring to mind in connection MJohn McCabe the a Continuum CD CCD 1045. with the music of Bax, yet the pianist with the Classical Both of these CDs received partnership worked wonder - composers, and especially outstanding reviews. fully well. Thanks to the de - with the formal grace of votion of Richard Itter, of Haydn’s piano sonatas, may “John had a Lyrita, in recording and pre - be surprised to see his name serving broadcasts of English linked with the Late Roman - great love for music, using the best quality tic works of Arnold Bax. equipment, this perfor - However, John had a great Bax’s music mance is to be made avail - love for his music, over a long over a long able again, coupled with period of time, and his own another rare reissue, that of record collection contained a period of the Second Symphony, with very large number of CDs of the BBCSO conducted by Eu - Bax’s works. time.” gene Goossens, this record - One of John’s earliest However, in 1978 John ing dating from 1956. piano records, now issued on was the soloist in a BBC The sound has been ex - BMS 103CDH as ‘An English broadcast of Bax’s evocative cellently restored by Nimbus, Recital’ contains the beauti - work for piano and orches - and the CD was issued on ful Allegretto of Bax’s Piano tra, Winter Legends, in a su - 3rd November 2017, in the Sonata No. 4, as a separate perb performance with the series entitled Lyrita Broad - item. In 1992 he recorded BBC Northern Symphony cast Edition, in collaboration Bax’s magnificent Piano Orchestra (as the BBC Phil - with the BBC. Sonata No. 2, together with harmonic was then known) - Monica McCabe the shorter solo work, Leg - under conductor Raymond end, and the original solo Leppard. Again this artist

-16- EVENTS

Winners of BASC 2017

Saturday October 21 at The Nicholas Boas Charitable Trust

’LL START at the end of the mas - British composers such as Britten, Perhaps there are lovers of Warlock terclass/competition by an - Howells, Elgar and Ralph Vaughan songs among the BMS members who Inouncing the prize winners from Williams, as well as more unusual would like to debate these claims. If the fourteen finalists chosen by repertoire: Richard Rodney Bennett so, please send your comments for Dame Felicity Palmer. ‘The Mouse and Bumblebee’ and Re - inclusion in Letters to the Chairman. 1st Prize (British Music Society) becca Clarke ‘The Seal Man’. The BMS would like to thank the went to Felicity Turner accompa - Dame Felicity Palmer directed individuals without whom BASC 2017 nied by Natalie Burch. Songs by the masterclass with great energy could not have taken place. Nigel Warlock ‘Pretty Ring Time’ and and demanded clarity of text from all Foster, BMS member and Artistic Cheryl Frances-Hoad ‘Rubbish at the young singers. She regarded Director of the London Song Festival Adultery’. singing British Art Song in 2017 as for devoting so much time and en - 2nd Prize (The Stephen and “tricky territory”; all too often its ergy organising the event. Bob Boas Diane Trowell Prize) went to Eleanor presentation comes across as a bit who generously donated his beauti - Ross accompanied by John Cuthbert. precious and the songs can easily ful home complete with Steinway Songs by Warlock ‘Take O take those sound dated (particularly when a grand and refreshments, and lips away’ and John Ireland ‘Earth singer insisted on rolling the ‘r’). A Stephen Trowell for providing the Call’. few of the Warlock songs attracted 2nd and 3rd prizes. My thanks also 3rd Prize (The Stephen and her personal criticism. ‘The Wind go to Susan Bickley and Ian Venables Diane Trowell Prize) went to Jevan from the West’ she regarded as diffi - for providing song scores as part of McAuley accompanied by Kaoru cult and she was unimpressed by the gift bag for the fourteen finalists Wada. Songs by Warlock ‘The Con - some of the word setting in and BMS member Malcolm Rudland tented Lover’ and Ivor Gurney ‘Yarmouth Fair’. When it came to for providing the prize winners with ‘Lights Out’. ‘Late Summer’, it was “inaccessible”; a free three year subscription to the Many thanks to all the finalists there was nowhere to breathe and “it Peter Warlock Society. who selected songs from well known doesn’t go anywhere. 0 out of 10!” - Wendy Hiscocks

-17- Books Croydon’s forgotten musical genius Peter Byrom-Smith on the life and times of William Hurlstone

ERSONALLY, I knew tional thought. He ranged very little of this from the ‘Quintet’ for flute, PBritish composer, so I clarinet, horn, bassoon and was a happy man to be given piano to pieces for violin the opportunity to review and piano, bassoon and this book by Christopher piano, plus too many to list Redwood when it arrived here. I hope the reader will here on my doorstep! absorb these from the book William Hurlstone was and find an opportunity to a well respected composer search them out for them - and also a renowned pianist. selves on recordings or in In fact, as the author shows score. in this well researched and Through the well writ - excellent addition to the ten and researched eight lesser known British com - chapters, by way of Red - poser biographies, many fa - wood's strong and enthusi - mous composers of the time astic writing and total wrote a great deal about his absorption in his subject, musicianship and composi - Redwood leads us from tional skills. Hurlstone's childhood, step Although he wrote a by musical and personal small number of full or - step to his unfortunate early chestral works, including death. Using many musical his popular ‘Swedish Varia - examples from both pub - tions’ and the ‘Magic Mir - lished and unpublished ror’, also well liked, not music of Hurlstone, he forgetting his early ‘Piano shows us how creative a Concerto,’ he seemed to be mind was at work - also of drawn more to chamber course, the author provides music. Hurlstone wrote a great insight and thought on large number of pieces for a these pieces. wide variety of different en - Writing from an early semble combinations age, searching for his indi - inspiring an amazing cre - vidual voice, through to his ative inspirational voice and student years at RAM where total flexibility of composi - he was under the composi -

-18- Significant strides with Sullivan

Sullivan Perspektiven III orchestral music, choral works and in the history of English oratorio, edited by Antje Tumat, Meinhard chamber music. An overview in Ger - dispensing as it does almost totally Saremba and Benedict Taylor man by Meinhard Saremba of En - with narration and, even more im - Oldib-Verlag, Essen. ISBN 978-3- glish opera in the nineteenth portantly, allowing Jesus to appear 939556-58-9. Price 29-99 euros century and Sullivan’s place in it, to - and speak in the first person as a gether with a timeline, give context character. He also emphasises the ULLIVAN scholarship has for readers unfamiliar with Sulli - dramatic and human qualities of the taken significant strides in re - van’s life and work. Some of his work. An analysis by Yates of unity in Scent years, not least through best-known quotes from contem - The Yeomen of the Guard draws at - the publication of a number of col - tention to the intricate key structure lections of essays in Britain and, es - of the piece, and to the recurring pecially, Germany. The irony of ‘Tower’ theme, which makes the German scholarship taking a leading Tower of London an overarching role in the movement to restore the presence, to all intents and pur - reputation of an ostracised figure poses a distinct character, through - from “Das Land Ohne Musik” will out the opera. Both these works not be lost on readers. have the benefit of new scholarly full Most important among these and vocal scores, Yeomen from Ox - collections has been the Sullivan - ford University Press and The Light Perspektiven series from Oldib-Ver - of the World from The Amber Ring. lag, which draw on the scholarship Another work just published in of several nations, printing the con - full score, The Martyr of Antioch tributions of English-speaking writ - porary interviews and letters are (again by The Amber Ring) is dis - ers in their own language and those translated into German to provide a cussed by the score’s editor, Martin of German and other non-English more rounded picture of a com - Wright. He contrasts Sullivan’s ap - speakers, in German. The essays in poser who, although far less well- proach to Christian piety with that this latest collection are by scholars known in Germany than in England, of his non-Christian characters (in from the UK, USA, Germany and is making steady strides. the case of The Martyr, sun-wor - Russia. Nine are in English, the re - The most valuable essay in the shippers). Other writers consider mainder in German, with an ab - collection, and, with a complete various of Sullivan’s major works: stract in English. recording about to be released on Kenilworth, Iolanthe, Ruddigore, The book is in four main sec - Dutton Epoch, also the most timely, The Foresters and King Arthur; and tions. Seventeen essays look at as - is Martin T. Yates’ study of The Light there are useful introductions to his pects of Sullivan’s writing for the of the World. He discusses the anthems, partsongs and chamber stage (operas and incidental music), ground-breaking nature of the work music. - Stephen Turnbull

tional direction of Stanford, speak, earning a living as published works, although UK prices: hardback £40 to recognition from his both a teacher and a pi - few, the recordings of his + £3 p&p; softback £20 + peers, audiences and per - anist. In fact when he went popular pieces and the £2 p&p. Overseas: formers and composers to study at the RAM, the writings about him, includ - hardback £50; softback who recognised his indi - piano was his second sub - ing this one, who knows, £30, both post free. vidual talents, you feel ject. In this way he man - but I do hope the readers of www.sequoiapublishing.c you’re on a personal mis - aged to earn a living and this book will look and lis - om sion to understand this write as much as he could ten to the musical voice of young man. As a teenager, around his numerous con - a true British composer. even though he was not in cert performances. After reading this good health, which was to What would he have book, I concur with Red - be a continuing worry for achieved, if he hadn’t had wood here, Hurlstone was... him and everyone around his life taken at such an ’Croydon’s Forgotten Musi - him, he took over as the early age? Well, thinking cal Genius’ -but let's not family breadwinner, so to aloud here, if through his leave it there!

-19- BOOKS ‘I opened the book each day with wonderment’ ‘Delius and Norway’ is an informative and uplifting read

N informative and well, it seemed it to me, an leagues, which are quoted He led a pretty bo - uplifting book, and a almost private journey into frequently, work and per - hemian, exciting, and artis - Afantastic addition to unexplored territory, al - sonal life entwining tic life in Europe, especially the bookshelf - a delight to most like the northern throughout, we see Delius Paris, we learn from much read! Excellently written lands, their culture and as a complex human being about his many visits there, and researched - both an people, for which Delius with both strengths and with many visiting artists enlightening and en - was such an advocate. From weaknesses. Also included and musicians from Nordic thralling read, in equal the dust cover alone, with in these pages are many lands, who joined him and measure! its stunning images, it en - musical examples, which the other creative minds at So, now I’ve caught ticed me to open the pages work in the artistic capital your attention, somewhat, and let the syllables, words, of 19th/20th century. We excuse me, then I’ll start at sentences and chapters, “Intrigue hit see how a major friendship the beginning! wash over me, like a light with Edvard Grieg and his The prospect of read - windfall of snow, in the me between wife Nina developed into a ing and reviewing this book Norwegian Fjords. I opened longstanding, deep, and for the BMS, lead me to the book each day the eyes, so to emotional friendship. In - open the package quite en - with wonderment, of speak.” deed, even after Grieg’s thusiastically, to say the what will await me in these death, Nina and Delius least. ‘Delius and Norway’, pages, and with a new would keep in touch with well, intrigue hit me be - mind’s eye, so to speak, are used as reference one another. tween the eyes, so to speak. with images and such vivid points, to show his develop - Over the years, on his Another new book on descriptions of the Nordic ing musical and creative numerous trips abroad, Delius, I hear you say, eh, lands and its music, culture mind. Nordic influences are where he sort an almost okay? Well, as I’ve always and most importantly, it seen and heard in many of musical, inspirational en - found his music both au - seems here, its people. his major compositions, lightenment from as many rally delightful in tone and We read much of his and some minor ones, as influences as he could ab - cerebrally inspiring in equal friendships included Sind - well as his lovely settings of sorb, he developed many measure, no problem! Al - ing and Munch, as well as Norwegian poets, so read - friends amongst artistic though a long-time fan of other Norwegian artists, ing how this occurred is en - communities, including Delius and his music, one of and musicians, who influ - lightening. In fact, his use of close friendships, such as the great, and very inspiring enced his approach to com - Norwegian folk tunes cre - conductors and perform - of British composers, with position and in developing ated much influence on his ers, who helped take his this new volume by Andrew his own musical voice. musical development and music to a wider world and J. Boyle I entered a new Using access to many letters compositional style as a the listening public in gen - world, as he took me on a, from his friends, and col - whole. eral. As is well known,

-20- BOOKS

Thomas Beecham was a re - in a sense, almost gave up jority of the book was new ally big promoter of his her professional career, so to me, and certainly will be work, and there a couple of as to spend time with, and to most readers, so makes it nice anecdotes about their add massive encourage - a must read and one which relationship contained ment to her husband, and of should be added to your within these pages. Also the course in Delius’s later bookshelf. Many anecdotes, developing relationship years, would end up ne - and stories of Delius and his with the Harrison sisters, glecting her own artistic exploits, are contained in two well-known British endeavours totally, and this well presented book, performers for whom he would devote all her time including about his boat wrote his Cello concerto and efforts to her ailing journeys during WW1, (Beatrice) and a double con - husband. dodging between mines and certo for Violin and Cello A source of much en - warships, so he could reach (May and Beatrice). Of lightening information his beloved northern lands!! course, these two perform - about Delius, one of Anyway, enough said. ers were also friends and Britain’s greatest com - Write a note, leave around Delius and colleagues of Elgar too - posers, obviously, but also the house, or accidentally Norway Beatrice enthrallingly, into his and drop said note in the office, by Andrew J. Boyle performed/recorded his many other artists lives, but whichever way you Published by Boydell Press Cello Concerto. both before after the 1914 - choose, let everyone know 328 pages Much sadness, even 18 war in Europe. you’d really like this book - after all these years, in both So, to sum up. I really with Christmas approach - the writing and reading of enjoyed this book, obviously ing, way too rapidly, make his final years - struggles containing information sure it’s on your present list, with both infirmity and about Delius we already or better still, go out there, keeping involved in the mu - know quite well, from other seek it out and buy, you sical world at large! sources, such as sleeve won’t regret it, trust me, I’m His wife Jelka, a recog - notes from recordings, as a composer... nised and inspired painter, well as other books, the ma - - Peter Byrom-Smith

-21- And I saw a new heaven ‘And I saw a new heaven’ is probably his best known work, but Nicholas Keyworth finds out about the incredible journey from Hackney to Sydney of composer EDGAR BAINTON

ORN in 1880 in Hack - ney, East London - Bthe son of a Congre - gational minister - Edgar Bainton was later to become Director of the New South Wales State Conservato - rium of Music in Sydney, Australia. Music scholar - ships initially took him to Coventry followed by the Royal College of Music studying with Walford Davies and Charles Villiers Stanford. His first job came in Edgar Bainton at his desk Sydney Conservatorium 1901 as piano professor and of Music later Principal of the New - Canada and Australia. The castle-upon-Tyne Conser - New South Wales State Con - vatory of Music. He became servatorium of Music was so involved in the local musical impressed that they offered scene, composing, playing, him the directorship. So, in conducting and marrying a 1934 Bainton and his family former student, Ethel Eales started a new life in Aus - in 1905. tralia. But things took a turn When Arnold Schoen - in the summer of 1914 when berg applied for a position Bainton visited Germany’s at the Conservatorium, Bayreuth Festival. He was Bainton turned down the Civilian detention camp at Ruhleben arrested after war broke out application on the grounds and as a male enemy alien bouw Orchestra in two con - of Bainton with a view of in - of 'modernist ideas and of military age he was sent certs of British music before cluding them on the disc as dangerous tendencies.’ to the civilian detention returning to England. many of them were un - An early opportunity camp at Ruhleben, near Wendy Hiscocks tells recorded. I soon discovered arose with the formation of Berlin for the next four us more about her decision the rich array of material the Sydney Symphony Or - years. to include Bainton’s music much of which had been chestra - whose inaugural Fortunately, he was put in Celebrating Australian written for his wife to sing. concert Bainton was to con - in charge of all the music at Music’s MUSIC OF OZ con - This treasure trove revealed duct. As well as introducing the camp and became ac - cert programme: the composer’s philosophi - previously unheard Euro - quainted with several later “Edgar Bainton’s music cal and mystical line of pean music to Australia, successful musicians. He was mostly unfamiliar to thought and there is often a Bainton was also able to use was sent to The Hague in me. When I was recording sense of other worldliness his new position as a plat - 1918 and when war was to the songs of Arthur Ben - in his music.” form for his own works and end soon after he was able jamin there was an oppor - By 1930 he was touring he continued as a composer to conduct the Concertge - tunity to explore the songs further afield to India, up to his death in 1956.

-22- Profile Thomas Winpenny

Tom Winpenny is currently Assistant Master of Music at St. Albans Cathedral. He has recently released a second disc on Naxos of Malcolm Williamson’s organ music with the support of the British Music Society.

OM began his organ lessons under John “Thomas TScott Whiteley while a Winpenny chorister at York Minster, and continued as a Music gives us some Scholar at Eton College terrific under Alastair Sampson. After holding the post of performances” Organ Scholar at Worcester Cathedral and then St The Classical Reviewer George's Chapel, Windsor Castle, he was for three years Organ Scholar at King's Col - performance of works by Ju - lege, Cambridge, where he dith Weir, Cecilia McDowall, worked with Stephen Judith Bingham, Jonathan Cleobury. With the Choir of Dove, Paul Mealor, Francis King's College, he gave con - Grier, Alec Roth and Francis certs in the USA, Hong Kong Pott. and throughout Europe, in His discography is ex - addition to appearing as tensive and includes music their accompanist on CD re - by Mozart, Liszt, John Mc - leases on EMI Classics. After Cabe and John Joubert. For graduating from King’s in Naxos, his solo recordings 2006 Tom took up an assis - include music for organ by tant post at St Paul’s Cathe - Judith Bingham and Messi - dral, London, where he aen’s La Nativité and L’As - played for many high profile cension and several discs of services, including several music by Malcolm royal occasions. Williamson revealing his Tom can be heard regu - deep immersion in religious larly on BBC broadcasts and music, initially inspired by has taken part in the first Messiaen.

-23- Cosmic wonders

Nimrod Borenstein

Violin Concerto The Big Bang and the Creation of the Universe If You Will It It is No Dream Oxford Philharmonic Orchestra; Vladimir Ashkenazy

Chandos Chan 5209

HEN contem - character. came a distinctive prod - demonstrates why he re - porary com - Irmina Trynkos (vio - uct of the Royal Academy gards himself as a “multi- Wposers like lin) cuts through a de - of Music in London. melodic” composer. Nimrod Borenstein are manding score with real Hence his triumvirate There is a lot more attrac - championed by a cele - commitment. claim to be part tive rhythmic drive in a brated musical luminary Swirling strings and Israeli/French/British. short but notable piece of the calibre of Vladimir woodwind themes are im - A preoccupation with ’You Will It, It Is No Ashkenazy they must be pressively emphasised by driving percussion sec - Dream’, based on a quote worth turning an explo - a forceful but diligent use tion rhythms continues in from the Zionist leader, rative ear to. of a glittering percussion a rather ambitiously enti - Theodor Herzl. And this wonderfully section. There is some tled, The Big Bang and Purists and aca - arresting Violin Concerto fine committed playing Creation of the Universe. demics might say this gives ample proof of that from the relatively new Still, there is some im - music lacks depth but point. Creative and com - Oxford Philharmonic Or - pressive and engaging there is glorious colour in pelling orchestration chestra responding melodic development Borenstein’s scores which gives this work an appeal - sharply to the baton of Mr here. Astute record engi - many listeners will find ing atmosphere which Ashkenazy deftly moving neering again captures irresistible. takes it well into the through new ground in the prominent roles of Ashkenazy knows the realms of the innovatively his 80^th year. Borenstein glockenspiel and timpani. score. exciting. This unrelenting was born in Tel Aviv, Here is a unique use - Chris Bye music seizes the ears with began his career at the age of counterpoint and a positive and enchanting of three in Paris, and be - Borenstein sweetly