Some Important British Works that are Celebrating Half-Centenaries (Composed, First Performed or Published) Part 2

Part 2
Wilfred Josephs: Piano Concerto No 1 op.46; Canzonas on a Theme of Rameau, for strings; Sonata for violin and piano; So She Went into the Garden, for chorus and piano; Four Japanese Lyrics, for voice, clarinet and piano
Kenneth Leighton: Communion Service in D, for chorus and organ
Elisabeth Lutyens: The Valley of Hatsu-Se, for solo voice and instruments; Magnificat and Nunc Dimittis, for unaccompanied chorus;

John McCabe: Chamber Concerto for viola, cello and orchestra; Concertante for harpsichord and chamber ensemble; Symphony No 1; Elegy; String Trio; Fantasy for brass quartet; Bagatelles for two clarinets;  Elegy for organ
Elizabeth Maconchy: Variazione Concertante for orchestra

William Mathias: Festival Te Deum, for mixed voices and organ

Nicolas Maw: String Quartet No.1
Thea Musgrave: Festival Overture, for orchestra; Excursions, for piano (four hands)
Alan Rawsthorne: Tankas of the Four Seasons, for tenor and chamber ensemble; Cello Concerto
Edmund Rubbra: Inscape, suite for chorus, strings and harp
John Tavener: Cain and Abel, cantata
Michael Tippett: Vision of St Augustine, for baritone, chorus and orchestra;

William Walton: The Twelve, for chorus and orchestra
Egon Wellesz: Symphony No 6
Malcolm Williamson: The Happy Prince, opera; Violin Concerto; Concerto Grosso for orchestra; Sinfonietta; Symphonic Variations, for orchestra; Four North Country Songs, for voice and orchestra
Hugh Wood: Scenes from Comus, for soli and orchestra (completed)

Much of this tranche of ‘half-centenary’ music seems to have died over succeeding years. However, there are a number of positives. I may have missed some recordings of the listed pieces: I would be interested to hear of them.

So little of Wilfred Joseph’s music has made it onto vinyl or CD with only a couple of discs devoted to his chamber music, the Double Bass Concerto and a few bits and pieces. However, none of the 1965 works (with the honourable exception of the Violin Sonata) seem to have been recorded for posterity. The Piano Concerto is surely a tantalising prospect?

I cannot find a recording of Kenneth Leighton’s Communion Service in D, for chorus and organ, however I assume that it is sometimes heard in ‘choirs and places where they sing.’

Listeners are fortunate to have a single recording of Elisabeth Lutyens’ The Valley of Hatsu-Se, for solo voice and instruments on the sterling NMC label.

John McCabe is well served. I looked at the discography on his webpage and it seems that most of his works from this year have survived – at least in the recording studio. The Symphony has been re-released (2104) on Naxos from the original Pye recording made in 1967. The Elegy for organ was available on an old Decca Eclipse LP. The Bagatelles for two clarinets were issued on the Albany label. The String Trio appears on a Campion Cameo CD coupled with music by the Manchester composer David Ellis.

I have not come to terms with Edmund Rubbra’s music: I accept that I have never given him a chance. I have listened to his symphonies over the years, but they have never really moved me. The 1965 Inscape, suite for chorus, strings and harp was release by Chandos in 2000. I understand that there is also a Decca vinyl version dating back to 1967 with John Carol Case, the Ambrosian Singers and the Jacques Orchestra conducted by Myer Fredman.

Alan Rawsthorne’s Tankas of the Four Seasons, for tenor and chamber ensemble has avoided being recorded: however his interesting Cello Concerto has received a single release on the Naxos label. It received mixed reviews.

John Tavener is well represented in the CD listings, however I am unable to locate a recording of his cantata Cain and Abel. I guess that most of currently available CD tracks will represent music written after his change of style to more ‘approachable’ and tonal music nodding towards Arvo Part.

I am not a fan of Michael Tippett’s choral work The Vision of St. Augustine, yet I recognise that it is one of his most important compositions. I am amazed that the only currently available recording is the old 1971 version with John Shirley Quirk and the LSO conducted by the composer. It was re-released most recently on a RCA Victor special CD (51304). As the reviewer in The Gramophone stated ‘…it is a masterpiece that reveals its secrets slowly…’ Surely it deserves a more modern recording?

The most ‘popular’ work dating from 1965 is William Walton’s choral piece The Twelve. There are currently 10 editions of this piece in the Arkiv catalogue, although I believe that the Naxos version appears on two different albums.

Hugh Wood’s Scenes from Comus, was issued along with his Symphony on the NMC label in 2002. Neither work appears to have caught the listening public’s imagination.  

Egon Wellesz is most fortunate in having his complete cycle of Symphonies released on the CPO label. Wellesz is reasonably well served by recording companies, though his music deserves greater exposure.

I do not believe that Nicolas Maw’s String Quartet No.1, Thea Musgrave’s Festival Overture or Elizabeth Maconchy’s Variazione Concertante for orchestra have been heard in recent years. They are certainly not in the current CD catalogues. I did find a reference to the Maw Quartet on an old Argo LP. Musgrave’s Excursions, for piano (four hands) has been released on Campion Cameo with works by Berkeley, Bowen, Walton and Lane. William Mathias’ Festival Te Deumhas been appeared on Hyperion.

My biggest surprise is that I can only find two of Malcolm Williamson’s offerings for 1965 on CD – the Concerto Grosso and the Sinfonietta. Both were published on the first volume of Chandos slowly-appearing retrospective of his orchestral music. The Symphonic Variations are currently available on YouTube. However, there is no sign of the opera The Happy Prince, or the Violin Concerto. This latter work was released on LP by HMV coupled with Lennox Berkeley’s Violin Concerto. The Happy Prince was issued on vinyl by Argo in 1966. 

If I had to call for one or two works to be included in the record companies’ ‘bucket list’ it would have to include Wilfred Joseph’s Piano Concerto, Elizabeth Maconchy’s Variazione Concertante for orchestra and a new edition of Malcolm Williamson’s Concerto for Violin. 

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Some Important British Works that are Celebrating Half-Centenaries (Composed, First Performed or Published) Part 1

A selection of works that were composed, published or premiered in 1965. I acknowledge Eric Gilder’s The Dictionary of Composers and their Musicas being an invaluable source for musical history. I present these listings in two parts.

Part 1:

Malcolm Arnold: Five Fantasies, for bassoon, clarinet, flute, horn and oboe
Don Banks: Horn Concerto
David Bedford: This One for You, for orchestra; Music for Albion Moonlight, for soprano and instruments ; 'O Now the Drenched Land Awakes', for baritone and piano duet
Richard Rodney Bennett: Symphony No 1; The Mines of Sulphur: opera fp. Trio(for(flute,(oboe(and(clarinet
Lennox Berkeley: Partita for chamber orchestra
Harrison Birtwistle: Tragoedia, for instrumental ensemble; ‘Ring a Dumb Carillon’, for soprano, clarinet and percussion; Carmen Paschale, motet for mixed chorus and organ
Havergal Brian: Symphonies Nos 22, 23 & 24
Benjamin Britten: Gemini Variations, for flute, violin and piano (four hands); Songs and Proverbs of William Blake, for voice and piano; The Poet's Echo, for voice and piano; Voices for Today, anthem for chorus
Alun Bush: Partita Concertante; Two Dances for cimbalon
Peter Maxwell Davies The Shepherd's Calendar, for singer and instruments; Shall I die for mannes sake, carol for soprano alto and piano; Seven in nomine.
Peter Dickinson: The Judas Tree, for actors, singers and ensemble
Benjamin Frankel : String Quartet No 5; The Battle of the Bulge (film music)

Peter Racine Fricker: Ricercare for organ

Robert Gerhard: Concerto for orchestra
Alexander Goehr: Pastorals, for orchestra
Iain Hamilton: String Quartet No 2; Aubade, for solo organ
Alun Hoddinott: Concerto Grosso No 1 fp; Aubade and Scherzo, for horn and string; Dives and Lazarus, cantata fp.
Robin Holloway: Music for Eliot's Sweeney Agonistes;

Daniel Jones: Capriccio for flute, harp and strings

Glancing at the above list discloses a number of surprises. Most importantly none of Benjamin Britten’s works from this year have really ‘caught on.’ Naturally, they have all been recorded at one stage or another, but they are definitely not overrepresented. There are three versions of the ‘Gemini Variations’ in the Arkiv catalogue, the most recent being from 2006. This compares to 11 recordings of the ‘Temporal Variations’ and 8 for the ‘Insect Pieces’. Similarly there are three current versions of the Songs and Proverbs of William Blake for voice and piano compared to 13 for the great song-cycle Winter Words. The Poets Echo is better represented.  I can only find one CD including the anthem Voices for Today.

A variety of discs have been issued of Malcolm Arnold’s interesting Fantasies for solo instruments. However, these are definitely not amongst his most popular music. They all deserve an occasional airing at recitals.

Iain Hamilton is ill-served on CD with none of his Symphonies currently available. Certainly there is no recording of his String Quartet or Aubade for organ.

Robin Holloway’s ‘Music for Eliot's Sweeney ‘ does not appear to have made it into the recording studio, neither has Daniel Jones’ Capriccio for flute, harp and strings, Peter Racine Fricker’s ‘Ricercare’ for organ or the two pieces by Alan Bush. Fortunately, Don Banks Horn Concerto is available in a single recording on Lyrita.

David Bedford is a composer whom I have come to rate highly in recent years. Once again Lyrita has come to the rescue with a fine recording of Music for Albion Moonlight, for soprano and instruments. However the other two works seem to have disappeared from view. I do understand that 'O Now the Drenched Land Awakes', for baritone and piano duet was released on Deutsche Grammophon in 2002.

Lennox Berkeley’s ‘Partita’ is offered on a single recording from Lyrita. Havergal Brian’s three symphonies from 1965 all appear on a single Naxos CD. However like so many of these pieces they have not made a major incursion into the concert hall.

Two out of three of Harrison Birtwistle’s 1965 works have been recorded with four versions of Tragoedia and a single edition of Carmen Paschale, motet for mixed chorus and organ currently in the catalogue. ‘Ring a Dumb Carillon’, for soprano, clarinet and percussion does not appear to have made it yet.

The current Master of the Queen’s Music has only one work from fifty years ago in the CD listings – ‘Seven in nomine’. There are other ‘deleted’ CDs of this music in existence. I was astonished that The Shepherd’s Calendar has been ignored.

Alun Hoddinott’s Dives and Lazarus is available on Lyrita, the Concerto Grosso No.1 has been issued on the Metronome label. In spite of the Horn Concerto being released on Lyrita, the Aubade and Scherzo for horn and orchestra does not appear in the listings.

I was delighted to find that Alexander Goehr’s Pastorals, for orchestra has been issued on Naxos. It is a work that I have yet to hear.
Another surprise is that none of the three 1965 works by Richard Rodney Bennett are on CD. There are live recordings of the Symphony No. 1 available from Internet ‘groups’ for collectors. 

Peter Dickinson’s huge, eclectic The Judas Tree was issued on the Heritage label last year.

Both the String Quartet No.5 and the film music for The Battle of the Bulge by Benjamin Frankel has been published by CPO Records. This company have done a sterling job in promoting a huge quantity of Frankel’s music, including most of the orchestral works and chamber music. Unfortunately (with a few exceptions) no other record label has given him due attention.

Perhaps my biggest surprise was that a major work such as Roberto Gerhard’s ‘Concerto for Orchestra’ has only a single recording (on Chandos). This is an acknowledged 20^th century masterpiece that should be widely known and appreciated.

So it is a mixed bag of musical survival in the first part of these half-century listings. Out of the unrepresented works I would make a top priority for a new commercial recording of Richard Rodney Bennett’s Symphony No. 1. I have heard this work and consider that it is worthy of release on CD (along with much else of RRB’s music).  It is available on a YouTube recording with Colin Davis conducting the Boston Symphony Orchestra. A vinyl record was released in 1968 coupled with Arnold Bax’s First Symphony. RCA Victor (Igor Buketoff). 

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Some Important British Works that are Celebrating Significant Anniversaries (Composed, First Performed or Published) include:-

150 years ago:-

1865
John Stainer: Gideon, oratorio

This was John Stainer’s doctoral exercise. It was performed in part on 8 November 1865. The work was never published.

75 years ago

1940
William Alwyn: Masquerade, overture [latterly, Overture to a Masque];

Richard Arnell: Violin Concerto
Arthur Benjamin: Sonatina for chamber orchestra
Lennox Berkeley: Sonatina for recorder (flute) and piano (1939-40); Five Housman Songs for tenor and piano, Four Concert Studies, set 1
Arthur Bliss: Seven American Poems, for low voice and piano
Benjamin Britten: Paul Bunyan, operetta (c1940-1, revised 1974); Sinfonia da requiem, for orchestra; Diversions on a Theme, for piano (left hand) and orchestra; Seven Sonnets of Michelangelo, for tenor and piano
Frank Bridge: Rebus, for orchestra; Divertimento for flute, oboe, clarinet and bassoon
Alan Bush: Symphony No 1
Geoffrey Bush: Rhapsody for clarinet and string quartet
Gerald Finzi: Dies natalis, cantata (premiere)
Roberto Gerhard: Don Quixote, ballet (1940-1)
Constant Lambert: Dirge from Cymbeline, for voices and strings
Elisabeth Lutyens: Midas, ballet for string quartet and piano; Chamber Concertos Nos 1 and 2 (1940-1)
Andrzej Panufnik: Five Polish Peasant Songs (reconstructed 1945)
Matyas Seiber: Besardo Suite No 1
Ralph Vaughan Williams: Six Choral Songs - to be sung in time of war; Valiant for Truth, motet
William Walton: The Wise Virgins, ballet

From the above list it will be seen that a few works have been become part of the standard repertoire either in the concert hall or the recording studios.  This includes Finzi’s moving Dies Natalis, all the Britten pieces and William Walton’s The Wise Virgins ballet score.  All these are represented by more than one recording. Possibly only the Finzi is heard with any frequency in the concert hall.

A number of other names listed above have retained their important place in the hierarchy of British music, but the ‘1940’ works have either fallen out of favour or are considered marginal to the composer’s current standing. This includes RVWs ‘Six Choral Songs – to be sung in time of war’ and ‘Valiant for Truth’, Roberto Gerhard’s ballet Don Quixote, and Arthur Bliss’s ‘Seven American Poems, for low voice and piano’.  The two Frank Bridge works are not amongst those generally heard although they are currently available on CD.

The revival of British music in the last third of a century, at least as far as the recording studio is concerned, has seen a few of the lesser-known works listed above featuring in the catalogues.  This includes those composed by Matyas Seiber, William Alwyn, and (some of) Elisabeth Lutyens.

Lambert’s ‘Dirge’, Lutyens’ ballet score Midas, Arthur Benjamin’s Sonatina for chamber orchestra and Andrzej Panufnik’s ‘Five Polish Peasant Songs’ all seem to have been omitted from the recording schedules.
I was delighted to find that Geoffrey Bush’s Rhapsody for Clarinet and strings is available on YouTube, however, I do not believe that there is CD available.

There are still plenty of opportunities for courageous performers and recording companies to take on some of these works.  I guess the most pressing scores must be Lutyens’s Midas and a re-issue of Bush’s First Symphony, although Geoffrey Bush’s pastoral Rhapsody is an ideal work to be taken up by Classic FM and given an up-to-date recording. 

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British Music reaching its Centenary...

Some Important British Works that are Celebrating Significant Anniversaries (Composed, First Performed or Published) include:-

Granville Bantock: Hebridean Symphony (completed)
Arnold Bax: Violin Sonata No 1 (revised); Violin Sonata No2;  Legend, for violin and piano; The Maiden with the Daffodil, Winter Waters, The Princess’s Rose Garden, In a Vodka Shop, Apple-Blossom Time, Sleepy Head, Mountain Mood for piano;  Quintet in G minor, Red Owen (opera unfinished) Nympholet (orchestrated)
Arthur Bliss: Piano Quartet; String Quartet (c.1915)
Havergal Brian: English Suite No 2 (lost); Legend, for orchestra (lost)
Frank Bridge: Two Poems (after Richard Jefferies) orchestra; Lament, for strings; String Quartet No.2 in G minor
Eric Coates: From the Countryside, suite for orchestra 

Edward Elgar: Polonia, symphonic prelude; Une voix dans le désert, recitation with orchestra

Josef Holbrooke: The Enchanter, opera
Gustav Holst: Japanese Suite, for orchestra

Herbert Howells: Three Dances for violin and orchestra

John Ireland: Preludes for piano (1913-1915)
Cyril Scott: Piano Concerto No. 1 (premiere) 

These works from a century ago have survived remarkably well.  For British music enthusiasts most will be included in their CD and LP collections with one of more recordings. 

Bantock’s fine Hebridean Symphony has been issued on Naxos and Hyperion as well as on Intaglio and an old Gough and Davy LP dating from 1978. It may be an unwarranted personal opinion that could be challenged, but I think this is one of the best symphonies of that period. I accept that it could be described as being a little uneven in places, but in the round it is totally inspiring and satisfying.  

Arnold Bax has gained considerable status in the world of English music, especially through the labours of Lewis Foreman, Graham Parlett and Colin Scott-Sutherland. Without being complacent, I guess that virtually everything that is worthy from Bax’s pen (a few exceptions remain) have been recorded. It is a tribute to all concerned. Yet how often is Bax heard in the concert hall?

It is unfortunate that Havergal Brian’s two contributions from 1915 have been lost.  The Brian Society notes that the English Suite No.2 was subtitled ‘Night Portraits’ and contained six movements, including ‘Carnival’, ‘Witch’s Dance’ and ‘Recessional.’ The ‘Legend for orchestra’ was possibly dedicated to Nurse Edith Cavell and was completed by 14 November 1915.

In recent months the the war-works of Elgar have been issued on the SOMM record label.  I admit that they have never been amongst my favourites by that composer but they deserve attention and are valuable additions to our understanding of his ‘late’ works.

Like all of Josef Holbrooke’s operas, The Enchanter has sunk into total oblivion.  It was first heard in Chicago in the spring of 1915. The work’s English title was The Wizard. Maybe one day someone will revive it? There is a track lasting some three minutes on the Symposium record label, which would appear to be an extract from this opera.

Gustav Holst suffers for being remembered by music lovers for one work – The Planets. In many ways this monumental work is relatively untypical of his output. The Japanese Suite is is one of the ‘forgotten gems’ of his opus. It is a great piece that can justifiably take its place beside the better-known work.

The three works by Frank Bridge listed above have all secured a tentative place in the recorded repertoire. It surprises me that the haunting and moving Lament has not gained more popularity, especially on Classic FM. It was written to commemorate the loss of a child’s life, ‘Catharine aged nine’ on the Lusitania which was sunk in 1915.

Eric Coates is well-represented on CD in 2015 however, his From the Countryside Suite has only two recordings currently available (Dutton and Nimbus) and one that appears to have been deleted (ASV White Line). This idyllic work seems to ignore the wartime situation, though perhaps it represented the sort of England that ‘we were fighting for.’ Nevertheless this music is just that little bit more serious and thoughtful than much of Coates output. In some ways it is almost a short symphony, although studiously avoiding sonata form!  

Two versions have been made of Cyril Scott’s excellent but largely-forgotten Piano Concerto No.1: Lyrita and Chandos.

The works listed by Bliss, Howells and John Ireland are all currently available, with many versions of the latter’s Preludes for piano which includes the ubiquitous ‘Holy Boy’. 

Altogether the ‘score’ for works surviving their centenary in 2015 is remarkable. It is certainly infinitely more impressive than what history has dealt to music composed fifty years ago in 1965. More about that later… 

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A Happy New Year...

A Happy and Prosperous New Year

To All Readers of

The Land of Lost Content

Significant British Composer Anniversaries for 2015

Bi-Centenaries

J.W. Glover (1815-1899)

William Jackson (1815-1866)

Henry Lazarus (1815-1895)

H.H Pierson (1815- 1873)

Ferdinand Praeger (1815-1891)

150 Years

A.H. Brewer (1865-1928)

Alfred Hollins (1865-1942)

E.H. Lemare (1865-1934)

Stewart Macpherson (1865-1941)

Philip Miles (1865-1935)

Howard. Talbot (1865-1928)

R.R. Terry (1865-1938)

William Wolstenholme (1865-1931)

Centenaries

Gerald Cockshott (1915-1979)

Pamela Harrison (1915-1990)

Patrick Piggott (1915-1990)

Humphrey Searle (1915-1982)

The ‘big’ commemoration of 2015 must be Humphrey Searle’s centenary. However, of considerable note is the prolific early Victorian composer Henry Hugo Pierson. Readers will notice the extraordinary number of organ and choral composers who celebrate 150 years – Alfred Hollins, William Wolstenholme, R.R. Terry and E.H. Lemare. I wonder how these anniversaries will be celebrated during 2015. 

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Christmas Music: Christ Church Cathedral Choir, Oxford

This is an excellent compilation of Christmas music that shows considerable imagination and variety.  From the transcendent sound of William Byrd to the more pungent music of William Mathias by way of an urbane contribution from Francis Poulenc, this CD offers an exciting and thoughtful contrast to many run of the mill seasonal offerings.

There are four pieces by William Byrd. It was once written about this composer that he was a ‘pastoral poet who loves misty distances, soft hues, gently undulating landscapes…a countryman, whose rural lyricism decks itself in the most exquisite graces that can be imagined by an artistic temperament at once simple and refined’ (Van den Borren). It is this ability to create a vocal tone-poem that impressed me with these pieces. Not only does the composer communicate the theological and liturgical message of the texts, he is able to present a musical evocation of the nativity landscape imagined by poets and painters. However, this landscape has been translated to England. Truly wonderful and uplifting.

At the other end of the scale is William Mathias’s ‘Ave Rex- A Carol Sequence’ op.45 which exploits a variety of harmonic devices old and new. For example, the medieval practice of ‘organum’ parallel movement of voices is contrasted with 20^th century bitonality: the open ‘fourths and fifths’ are juxtaposed with sharp dissonances. The complex organ part is integral to this work.  ‘Ave Rex- A Carol Sequence’ was commissioned by the Cardiff Polyphonic Choir and was first heard at Llandaff Cathedral on 6 December 1969.  

Other works on this CD include the masterly antiphon ‘Mater Christi sanctissima’ by John Taverner, and an elegant and thoughtful setting by Palestrina of the Magnificat. John Sheppard’s superb anthem ‘Gaude, Gaude, Gaude, Maria’ is a complex six-part work probably written during the reign of Queen Mary.

Finally, I have never come across the Portuguese composer João Rodrigues Esteves (1700–1751). Seemingly, he was a fairly prolific composer of liturgical music. After study in Rome he spent the remainder of his life in Lisbon and latterly became a master of music in the Basilica de Santa Maria which was an adjunct of Lisbon Cathedral. His music is well-wrought and colourful. In some places he seems to be moving towards an operatic style rather than adhering to the then strict requirements of the Roman Catholic Church. It is hardly surprising that he is deemed to be the finest (if still largely unknown) Portuguese composer of his generation.

The presentation of this CD has one or two minor issues. It would have been good to have the texts of these pieces: as far as I can tell, they are all out of copyright. I accept that the listener can find these on the internet, but having them to hand is ideal.  This is a compilation, which is fine, but some idea of when each track was ‘laid down’ would have been useful. Finally, some of these pieces have an organ part, but the organist is not credited.

In the round, this is a most refreshing contribution to the very large number of Christmas CDs currently available. The singing is always impressive and the choice of programme inspiring.

Track Listings:-

Williams BYRD (1543-1623) A solis ortus cardine

William MATHIAS (1934-1992) Ave Rex- A Carol Sequence, op.45 (1969)

John TAVERNER (1490-1545) Mater Christi sanctissima

William BYRD Hodie Christus natus est; O magnum Misterium; Puer natus est nobis

John SHEPPARD (c.1515-c.1559) Gaude, gaude, gaude, Maria

Francis POULENC (1899-1963) Salve Regina (1941)

Giovanni Pierluigi  PALESTRINA(c.1525-1594) Magnificat (Sexti Toni a 6)

João Rodrigues ESTEVES (c1700-1751) Beati Dei Genitrix; Verbum caro factum est

Christ Church Cathedral Choir, Oxford/Stephen Darlington

Nimbus Records NI7096 

With thanks to MusicWeb International where this review was first published. 

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A Merry Christmas and a Happy New Year 

To All Readers of 'The Land of Lost Content'

Altarpiece of the Virgin, Jacques Darat, 1433

From the Faint Daysprings Eastern Goal

    Far as the utmost west,
Come, sing we Christ, the Saviour born
    Of Virgin Mother blest:
The Father of the age to come,
    In servant's form array'd,
That man He might for man atone,
    And ransom whom He made.

Within that Mother's spotless frame

     Celestial favour reigns, 

A secret load, she ween'd not of, 

    The maiden pure sustains: 

Her bosom chaste at once becomes 

    The temple of her God,

And she, who knew not man, is made 

    A heavenly Babe's abode.

He comes, He comes, the Virgin-born

     To Gabriel's promise true; 

He whom, as yet unborn, o'erjoy'd 

    The unborn Baptist knew; 

Nor recks He of His bed of hay, 

    Nor He the manger heeds; 

Enough the milky breast for Him,

    Who the young ravens feeds.

A shepherd to the shepherds' fold

     The Lord of all is show'd, 

Celestial choristers rejoice,

    And angels sing to God. 

Now glory, Jesus, be to Thee, 

    Whom a pure Virgin bore, 

With Father, and with Holy Ghost, 

    Henceforth for evermore.

Richard Mant, Ancient Hymns from the Roman Breviary (London: Rivingtons, 1871)

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John Rutter: Shepherd’s Pipe Carol

My earliest introduction to the music of John Rutter was the second volume of Carols for Choirs. It was in use by Coatbridge High School ‘senior’ and ‘junior’ ensembles under the guidance of music teacher Mrs Gallagher. At the same time copies had been bought by my local church, St Andrews, Stepps for the Christmas services. Carols for Choirs 2 had been published in 1970 by Oxford University Press and was jointly edited by David Willcocks and John Rutter. Included in this book were a number of arrangements by the latter, including ‘Come Leave your Sheep’, ‘Here we come a Wassailing’ and the ‘Twelve Days of Christmas’. There were also two original numbers – ‘Nativity Carol’ and ‘Shepherd’s Pipe Carol.’ This latter was to quickly become the composer’s signature tune.

Unfortunately, the John Rutter website is not forthcoming on information: it is more commercial than informative. For example, there is not a complete works list giving dates of composition and first performances. Curiously, I can find no mention there of the composer’s orchestral works. Any information about his music has to be pieced together from various liner notes and various short notices. 

The ‘Shepherd’s Pipe Carol’ was originally composed (text and music) for a carol concert at Clare College, Cambridge during the mid-sixties. It was duly published by OUP in 1967 and was also available in a number of arrangements including ‘unison voices with easy accompaniment, shortened and simplified’, ‘unison voices with optional descant’ and ‘solo voice with slightly simplified accompaniment.’ The version presented in Carols for Choirs 2 was for the standard SATB (soprano, alto, tenor and bass).  The score specifies a piano accompaniment, however it is quite possible to play on the organ. Certainly it is one of more difficult accompaniments in the book, and requires a gentle but accurate, soft ‘syncopated’ playing style. An orchestral arrangement was made and it is often heard in this guise.

The sentiment of the carol celebrates the piping of a shepherd boy journeying to see the baby Jesus in the stable at Bethlehem. The composer has suggested that the inspiration for this work may have come from his experience of having sung in Gian Carlo Menotti’s Christmas opera Amahl and the Night Visitors. The Hyperion CD liner notes (CDA67425) quote the composer: ‘I think the piping heard as Amahl heads for Bethlehem with the Wise Men may have stuck in my mind.’

The carol begins with a little introduction on the piano/organ which is subsequently used as a bridge passage between some stanzas of the carol. The music of the first verse features a dialogue between the tenors and basses and the full choir. This is repeated for the second stanza. The central section of the carol is more reflective: the sopranos sing ‘dolce et legato’ about the shepherd boy musing that ‘none may hear my pipes on these hills so lonely…But a King will hear me play sweet lullabies…’ The work ends with a call to ‘pay my homage to the new King’s cradle’ and the voices of angels ‘singing for joy…that Christ the infant King is born this night in lowly stable yonder.’

John Rutter makes use of a number of time signatures, often closely juxtaposed. His tonality is largely confined to F major, although the composer uses a number of catchy chromatic additions as well as a little bit of harmonic ‘side-slipping’ here and there.

It is not possible to give the words of this carol in my ‘post’ as both the music and the text are still in copyright. However there are many performances of this piece available on CD (27 versions at the current count on Arkiv) and also on YouTube. My personal preference is the Hyperion record featuring Polyphony, the City of London Sinfonia conducted by Stephen Layton. 

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William Walton: Christmas Carol ‘What Cheer!’

Many choristers will have been introduced to William Walton’s ‘What Cheer!’ through the first volume of Carols for Choirs edited by Reginald Jacques and David Willcocks. This book (and its successors) was to revolutionise the singing of Christmas Carols in ‘choirs and places where they sing’.

Walton wrote four carols over a 45 year period. The first, in 1931, was ‘Make we Joy Now in this Feast’ which was commissioned by the Manchester-based newspaper the Daily Despatch.  It was published there on Christmas Eve. The second carol was ‘What Cheer!’ In 1970 ‘All this Time’ appeared in Carols for Choirs 2 to be followed in 1977 by ‘King Herod and the Cock’ in the succeeding volume.

William Walton was commissioned to write his idiomatic Christmas carol ‘What Cheer!’ in November 1960 as a contribution to the first volume of Carols for Choirs.  It was composed shortly after the first performance of his Second Symphony in Edinburgh on 2 September 1960. Other works dating from 1961 the revision of the Viola Concerto (performed January 1962) and the impressive but underrated ‘Gloria’ for the Huddersfield Choral Society which was first heard on 24 November.

It is not known where or when the premiere of Walton’s carol ‘What Cheer!’ was performed, however Stewart R. Craggs has noted 26 April 1961 as the date of completion.

It was published separately by Oxford University Press in 1962.

The words of the carol are taken from the London grocer, Richard Hill’s (born before 1490) Commonplace Book with some alterations to the text. The holograph of Hill’s book is in the possession of Baliol College, Oxford (MS 534) and has been digitalised.

What cheer? Good cheer!

Be merry and glad this good New Year!

Lift up your hearts and be glad

In Christ’s birth, the angel bade,

Say each to other, if any be sad:

What cheer?

Now the King of heaven his birth hath take,

Joy and mirth we ought to make;

Say each to other, for his sake:

What cheer?

I tell you all with heart so free:

Right welcome, welcome, ye be to me;

Be glad and merry, for charity!

What cheer? Good cheer!

Be merry and glad this good New Year!

  

The carol is for unaccompanied four-part choir (SATB). Carols for Choirsdoes not include a ‘practice accompaniment’ so it is essential for singers to make the correct intonation from an early stage of preparation.

The carol is composed in a bouncy 3/8 metre throughout: the music is signed ‘allegretto’ but this piece could be sung ‘jubiloso’?

‘What Cheer!’ is infused with Walton’s ‘jazz-flavoured rhythm’ without descending to a Rutter-esque ‘pop’ sound. There is a dance music mood to this piece that, in spite of its brevity leaves an impression of profuse rhythmic vitality.  The carol is set in A major, however, allowing for ‘piquant’ dissonances there are relatively few accidentals. There is a modulation into ‘C major’ in the final exclamations of ‘Be merry and glad’, nevertheless the work ends on a solid A major tonic chord. The harmony is not overly dissonant. Considerable use is made of parallel ‘thirds’ between male and female voices.  Much of the striking effect of this carol is made by contrasting loud and quiet ‘What Cheer[s]! between voices.

Frank Howes in his study of Walton’s music (1974) says precious little about this carol. He simply notes that the melody is ‘harmonized by mild progressive dissonance that would not have been written by Stanford nor yet by a serialist composer.’

There are currently 14 versions of ‘What Cheer!’ listed in the Arkiv CD catalogue. One suspects that there be will a few more that have been deleted or are available as digital downloads. Well-known choirs that have recorded this work include the Bach Choir, Queen’s College Cambridge, Polyphony and Christ Church Cathedral Choir. The earliest commercial recording was ‘Sir Cristemas’ by the Elizabethan Singers with Louis Halsey in 1965 on ARGO RG446 (mono) and ZRG 5446 (stereo). A cassette was issued in April 1989 (MCFC164). It has been released on CD and is available in limited supply on Amazon. 

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Franz Reizenstein: Piano Music on Lyrtia

My earliest introduction to Franz Reizenstein was in Harrods in Knightsbridge, London. In 1974, that iconic store had an excellent record department. Amongst the browsers, I found two Lyrita albums of piano music: one by William Wordsworth and the other by the present composer (RCS13 & RCS19). I had already begun collecting this wonderful record label, but these two discs were the first of the old ‘mono’ albums that I had come across.  Reizenstein’s piano music had been issued as far back as 1959, so I am assuming that what Harrods had was ‘old stock’.  Nevertheless, it was difficult to possess my soul with patience until I got back to Glasgow and was able to listen to these two LPs. I recall being impressed, if a little disappointed: I guess I thought that this music would sound more like Bax or Ireland. Since then, I have followed the trickle of works released on vinyl and CD from both of these composers. At present there are some 20 works by Reizenstein on 9 albums currently listed on the Arkiv Website. (Wordsworth has 5 works on 2 discs)

Around the same time, I bought a collection of ‘educational’ albums for piano – Five by Ten published by Lengnick. These were ‘modern’ pieces especially written for the collection by ten composers including William Alywn, Elizabeth Maconchy, Malcolm Arnold and Reizenstein. Unfortunately Reizenstein’s contribution to this series has not been included in the CD collection. They may not be the most profound of works, but they are neat, well written and designed to trap the unwary or over confident (as I found out).

There is a good, if brief, biography of Reizenstein on the excellent website dedicated to the composer’s life and achievement, which I recommend to all listeners of these discs. A few notes may be of interest to readers. Franz Reizenstein can be classified as an honorary English composer. Along with Hans Gal, Egon Wellesz and Mátyás Seiber, he escaped Nazi Germany before the Second World War and began a new life in Britain. All these composers surely fall into the category of ‘unjustly neglected masters.’

Reizenstein was born in Nuremberg, Germany in 1911. Following study with Paul Hindemith in Berlin (1930-4) he settled in London. During this period he was a pupil of Ralph Vaughan Williams at the Royal College of Music (1934-6). After the war, during which he was interned until RVW pleaded on his behalf, he taught piano at the Royal Academy of Music and also at the Royal Manchester College of Music (now the Royal Northern College of Music). He regularly played piano in chamber music groups.

His catalogue of compositions is not extensive, but includes a radio opera, Anna Kraus, a large-scale oratorio Genesis, concertos for piano (2), violin and cello. He wrote a deal of chamber music as well as a number of works for piano solo. He is best recalled for his two ‘important’ contributions to the Hoffnung Festivals – Let’s Fake an Operaand the ‘Concerto popolare’.

Grove’s Dictionary outlines three creative periods of Reizenstein’s music. The first, from 1936-1945 often displays vigorous energy, fugato textures counterpoised to an ‘eloquent lyricism’. The second period, 1947-1959, saw the composer reach his mature style There is a deeper ‘elegiac, expressive power’ in this music: he makes frequent use of chords of the 4^thand semitones. His textures involve an exploration of modality (not in an archaic sense) and polytonality. Bartok and Hindemith are his models here. His final period included film music which was more romantic than his earlier works. He was master of pastiche as the contributions to Hoffnung suggest. Franz Reizenstein died in London in 1968, aged 57.

The recording history of Franz Reizenstein’s music is not extensive. At present the only real competition to this Lyrita release is the composer’s own album noted above. This is still available in mono in REAM2105. Philip Martin issued a fine selection of Reizenstein’ music on Continuum (Continuum CCD1007): this is now only available on download. I note that Kolja Lessing released an album (EDA Edition Abseits EDA20) including the violin and viola sonatas as well as the Sonata No.1 for piano. As a soloist playing both violin and piano she ‘double tracked’ the two former works. I have not heard this disc.

A great place to start this three disc set is with the Variations on ‘The Lambeth Walk’ (c.1958). This piece points up Reizenstein’s undoubted skill as a master of parody. The theme is the well-known tune from the revue Me and My Girl which is presented in the then-contemporary ‘Cockney’ sing-a-long style.   A number of famous composers feature in these variations: Chopin, Verdi, Beethoven, Mozart, Schubert, Wagner and Liszt. There are snatches of those composers’ music quoted as well as their ‘take’ on ‘The Lambeth Walk’.  The work was originally an improvisation made by the composer at a party. There was never a published score, only a recording (on a long deleted Parlophone record) and a few written notes – a batting list for Reizenstein’s personal use. This is definitely the case of a ‘serious’ composer letting his hair down. It would make a great encore at any recital.

The presentation of the piano music on these three discs is largely chronological which allows the listener to explore the ‘periods’ outlined above.

Reizenstein’s first published work was his Suite for piano, op.6 (1936) which written whilst he was a student at the Royal College of Music. It is dedicated to his teacher there, Vaughan Williams. Listening to this work reveals a kind of musical dichotomy. The faster, more robust movements of this suite owe much to Paul Hindemith, whereas the reflective sections nod to RVW. There is also an occasional ‘Prokofivean’ swagger. The Suite is in seven contrasting, but unified, movements. I enjoyed this work, especially the delicious ‘aria’ (2) and the final ‘tarantella’ (7).

Three years later Reizenstein issued his Impromptu, op.14. This is an easy-going piece that seems on face value to belong fairly and squarely in the English style as exemplified by Ireland. It is a beautiful work.

The Scherzo in A: Concert Piece for piano op.21 (1947) is powerful music that is largely staccato throughout with the exception of the lento section where the composer presents the two principal themes simultaneously. The work closes with a blistering coda. This Scherzo was dedicated to ‘William Montagu-Pollock in friendship.’ Pollock was a politician, an ambassador and was deeply interested in the promotion of modern music during the 1930s at the London Contemporary Music Centre.

The short Intermezzo was written in 1941: it is an attractive work that uses the minimum of musical material. The opening and closing of this piece are elusive, with a little more drama in the central section.

The Sonata in B, op.19 (1944) was dedicated to William Walton. My first hearing of this work back in 1974 in the composer’s recording on Lyrita caught my imagination.

Contemporary reviewers were quick to criticise the work for its use of ‘unassimilated styles’ -it was felt that the fingerprints of Hindemith and Rawsthorne (little Walton, though) were prominent in this work. This Sonata is neo-romantic rather than ‘modern’ in spite of some biting harmonies. The entire work covers a considerable range of emotion and displays an impressive grasp of form and exploits the piano’s technical capabilities.   The opening movement is intense, tempestuous and rhythmically diverse with syncopation and driving rhythms. The second is a huge contrast. This is typically quiet, reflective music that is lyrical and largely untroubled. Here and there an underlying passion does come to the surface. The finale is in the form of a rondo. The theme is both powerful and memorable. A number of the episodes use ‘fugato’ which was a fingerprint of Reizenstein’s style at this period. A fast, dynamic coda brings this hugely impressive sonata to a splendid conclusion.

The Legend, op.24 (1949) does not appear to have a ‘programme’ attached to it. Yet this is a delicious work that comes closer to the ‘English’ element of the composer’s style. It is a moody piece that has considerable harmonic variety without losing its innocence and freshness. The central section of the Legend is more unsettled, before the return of the main theme.

Eric Wetherall has suggested that the Scherzo Fantastique op.26 (1950) has a ‘bizarre almost diabolic atmosphere’. Certainly, this does seem to be the prevailing mood, with one or two moments of comparative relaxation. This long, complex piece makes huge demands on the pianist. In some ways the shadow of Chopin hangs over this work – not so much in the sound as in the formal construction and the pianistic figuration. Reizenstein did not use serialism in his music; the work does lean heavily towards an atonal mood rather than any obvious key.

Apart from the two sonatas, the most important work in this collection is the Twelve Preludes and Fugues, op.32 (1953/4). They were first performed on 8 December 1956 at an Arts Council concert with the composer as soloist.  The cycle was dedicated to Paul Hindemith. The key order of these 12 prelude and fugues derives from Hindemith’s ‘Series I’ which was published in his Craft of Musical Composition (1937). An interesting formal procedure is that the subject of each fugue is stated in its respective prelude. This is clearly cerebral music: not every one of the twelve numbers has an immediate impact. As a cycle (and I believe that they must be listened to as such) it is impressive and masterly. The composer displays a great understanding of counterpoint, polytonality (simultaneous combination of two or more keys) and the use of ‘transparent textures.’  For some idea as to what they ‘sound like’ I believe that Reger, Hindemith and Bach with a hint of Mendelssohn fits the bill. Paul Conway provides a detailed analysis in the liner notes of all twelve preludes and fugues.

The Sonata No.2 in A flat op.40 (1964) is a masterpiece. However, it has been criticised as being derivative, for example J.N. writing in The Gramophone(October 1960) suggested that some of Reizenstein’s music sounds as if someone ‘has been trying to warm Hindemith up with a shot of Rachmaninov.’ This can be argued for this present work but it does not alter the huge achievement of this music.  Written some 20 years after the first Sonata it can be regarded as the composer’s instrumental masterpiece. Certainly he reaches a ‘mature fulfilment’ in this work that is striking. It balances an almost blatant romanticism with a strong constructive principle utilising the tried and tested motto theme B-A-C-H.  The second movement is elegiac and commemorates the poet and librettist Christopher Hassall who had died in 1963. Hassall had provided the texts for a number of Reizenstein’s works including his opera, Anna Kraus. There are some lovely heart-rending moments in this music.  The finale is straightforward: it has been described as a ‘perpetuum mobile’ and ‘toccata-like’. Look out for a reiteration of the motto theme at the conclusion.

The Zodiac piano suite, op.47 was composed in 1965. It is made up of twelve short pieces which were published in three sets of four. Each symbolises one of the astrological signs. They would appear to be ‘graded’ pieces and become more difficult as the sequence progresses. The Suite is defined by humour, lucidity and conciseness.

In 1960 Reizenstein produced his Five Modern Pieces designed for the Associated Board examination schedules. There is nothing trivial or pedantic about these attractive little numbers. The titles of the pieces include ‘Secret Story’, ‘Victory’ and ‘Toccatina.’

There are a number of other educational works that are available in digital download from Lyrita (web address given in liner notes). These include Five Imaginative Pieces (c.1938), Seven Children’s Piano Pieces (1952), Study in Irregular Rhythms (c.1960), Three Pieces (c.1960) and Three Short Stories (c.1960). As noted above the pieces included in the albums Five by Ten are not recorded.

Finally, what can one say about Franz Reizenstein’s stunning arrangement for piano duet of Malcolm Arnold’s equally stunning English Dances Set 1 & 2? I have heard the second set performed on the quixotic Arnold CD Bright Jewels: Music from the 1940s and 1950s (MSV0214CD) so I was well-prepared to be impressed by Martin Jones’ and Adrian Farmer’s version on Lyrita. This is transcription at its very best. Every nuance and witty touch of the original orchestral score is retained in this version. Paul Conway has pointed out the allusions to the St Trinian’s music in the second and fourth Dances from Set 2. In some respects, the clarity of this music is enhanced by hearing the more focused sound of piano duet. This is great stuff. A perfect arrangement of one of my favourite Arnold scores.

This is one of the best of recent productions from Lyrita. I cannot fault anything about it. The liner notes by Paul Conway are absolutely essential reading for a good understanding of this outstanding piano music. Conway has provided a major essay on the composer as well as detailed analysis of each of the works.

Martin Jones has taken Franz Reizenstein to heart. He presents this music with deep understanding and clear enthusiasm.  The sound recording is superb as to be expected from anything produced by Lyrita.

There is no competition here. For anyone wanting the complete (nearly) piano works of Franz Reizenstein, this is the definitive edition. I do not imagine that there will be another competing version of this music in my lifetime. 

Franz REIZENSTEIN (1911-1968)

Disc One

Suite Op.6 (1936)

Impromptu Op.14 (1939)

Scherzo in A – Concert Piece for piano Op.20 (1947)

Intermezzo Op.17 (1941)

Sonata No.1 in B Op.19 (1944)

Legend Op.24 (1949)

Scherzo Fantastique Op.26 (1950)

Disc Two

Twelve Preludes & Fugues Op.32 (1953/54)

Variations on ‘The Lambeth Walk’ (c.1958)

Disc Three

Zodiac – piano suite Op.41 (1964)

Five Modern Pieces for Piano (1960)

Sonata No.2 in A flat Op.40 (1964)

Malcolm ARNOLD ‘English Dances’ Sets 1 & Set 2 (1950/1) arr. for piano duet (c. 1958)

Martin Jones (piano); Adrian Farmer (piano, Arnold Dances)

LYRITA SRCD.2342 

With thanks to MusicWeb International where this review was first published. 

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William Blezard: Suite Circle of Time for piano

The Suite Circle of Time (1975) is a meditation on the progress of the seasons. It is strange in that there are five sections – and there are only four seasons! The secret is the reprise of the New Year Carillon at the works conclusion. The Carillonopens the suite with its brittle, frosty bell figuration. It is definitely winter time-and a cold one at that. I remember walking along the Thames near Barnes one January morning and the frost had hit the riverside vegetation during the night. It was like fairyland. I wonder if Blezard had enjoyed a similar walk from his nearby home? The movement dedicated to spring is quicksilver – all over in 59 seconds. Yet a lot is said and the imagery of ‘small creatures that scuttle about’ is well described. Summer Haze is a perfect little tone picture. Once again I wonder if it is based on his home territory. Perhaps it is somewhere in Richmond Park when he would have heard ‘all the live murmur of a summer’s day.’ It is truly the heart of this delicious suite. Autumn Contrasts literally does that. The composer contrasts ‘vivace semiquaver triplets’ with much softer more introverted material. Autumn is often a sad time of year. With leaves blowing in the wind, the trees becoming bare and the days ‘drawing in.’ Fires burn and leaves are consumed. And finally winter returns – the New Year bells ring out the old and ring in the new. It ends with a perfect hush. This work for me is possibly the most moving of the Blezard opus that I have so far heard.
Circle of Time is available on Priory Records (PRCD 617) played by Eric Parkin. However, I believe that it has been deleted from the catalogues and is only available second hand. 

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Bernard Stevens: Music Suite from The Mark of Cain

Bertha Stevens

I was watching a video recording of Ken Russell’s 1995 Southbank Show ‘Classic Widows’ the other day. This programme featured Susana Walton, Xenia Frankel, Fiona Searle and Bertha Stevens. Russell’s intention was to promote less-well known composers. Where the hugely successful Walton fitted into this scheme I am not sure. Contrariwise, Benjamin Frankel, Bernard Stevens and Humphrey Searle have not become household names.

The concept of the programme was to show how these widows were promoting their husbands’ music. It is not a particularly well-wrought film: it is clear that the four ladies were not used to speaking to a camera in these circumstances. The script and the delivery is often stilted. However, it is an informative and fascinating insight to the music of these four men.

Each of the four sections include a couple of extracts from the composer’s music. I was struck by the film score that Bernard Stevens (1916-1983) wrote for the 1948 British film The Mark of Cain. It is not my intention to plot-spoil for anyone who has not seen this film: I have not seen it myself. Save to say that it is based round the rival jealousies of two brothers when the younger marries a pretty French girl. It is a melodrama set in late Victorian-early Edwardian times.  The film stars Eric Portman, Sally Gray and James Hayter.

I turned to the only available reference book on the composer’s achievement – Bernard Stevens and his Music: A Symposium published in 1989 by Kahn and Averill, London. It was edited by his wife.

In the short section devoted to the film music Bertha Stevens notes that ‘the amount of music required for the film was considerable, including an imitation Tchaikovsky piano concerto demanded by the director’, Brian Desmond Hurst (1895-1986). Seemingly he was not prepared to use ‘the real thing.’

Bertha Stevens notes that this film was made at time when ‘dramatic highlights frequently took place at concerts, with the stars looking extremely glamorous in full evening dress, expressing suitable emotional reactions to the romantic music.’

One sour note is sounded by the composer’s widow – she points out that Stevens had produced a good ‘concerto piece’ however she ‘regrets that, although a few pencil sketches of his film music exist (he also wrote the scores to The Up-Turned Glass and Once a Jolly Swagman) the scores along with hundreds of others automatically taken into possession of the film companies have been lost.’  Finally, she was of the opinion that the music in the film was well-played by the London Symphony Orchestra conducted by the redoubtable Muir Mathieson but ‘was wasted by an incompetent director.’ Bertha Stevens rated Eric Portman but felt that the rest of the cast were ‘surprisingly ineffective.’

Music from The Mark of Cain was arranged into an ‘orchestral sequence’ by Adrian Williams. It was first performed as a ‘suite’ in 1995 by Carl Davis and the BBC Concert Orchestra. An extract of this Suite was issued on Chandos (CHAN7008).

There is a wide variety of moods in this short ten-minute suite, however, towards the end, the composer clearly wears his heart on his sleeve with a superb romantic tune worthy of Tchaikovsky, Rachmaninov or Richard Addinsell. The score includes a quotation from the French folksong ‘Bailero’ which was made famous by Joseph Canteloube in his ‘Songs of the Auvergne’.

The YouTube file is of the complete suite – I guess that it was taken from a radio broadcast as it does not appear to be listed in the CD catalogues.

Bertha Stevens died on 19 January 2012 aged 97.

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