The Golden Age of Light Music: Bright & Breezy on Guild

The Golden Age of Light Music: Bright and Breezy

GUILD LIGHT MUSIC GLCD5180

There are some 81 volumes of Guild’s ‘Golden Age of Light Music’ currently available. If one allows an average of 28 tracks per CD, this makes a grand total of about 2268 pieces of music. Now, I imagine that some listeners will think that Guild must be scraping the bottom of the proverbial barrel to find good material for any subsequent releases.

In fact, I was beginning to wonder myself how much more of this kind of music is still hidden away. The answer is given as part of the liner-note discussion of Anthony Mawer and his delightful and trippy Painted Carousels. In fact, Mr Mawer (1930-1999) is a new boy to this series. Hailing from Sale in Cheshire, and a Manchester Grammar School lad, he was largely self-taught. However in the ten years between 1955 and 1965 he contributed some 500 titles to the De Wolfe sound library. If all this music were ‘rediscovered’ there could be a further 17 or 18 volumes just of his music!! And I am sure that many of the other composers represented on this CD will have similar large libraries of music attributed to them.

This is a strong selection of music that explores a wide range of moods and imagery. Included are a few standards such as Errol Garner’s Misty, Cole Porter’s Begin the Beguine and Lerner & Loewe’s ‘They Call the Wind Maria’ from Paint your Wagon. Big name ‘classical’ composers such as Hugo Alfvén with his Summerdance and Nino Rota’s film score for ‘La Vita Dolce’ rub shoulders with the masters of the ‘light music’ genre such Robert Farnon’s Sea Shore and Charles Williams’ Theme from ‘The Apartment’. Incidentally, Farnon’s work is one of the most evocative pieces on this CD – complete with chorus of sea-gulls and the magical piano playing of Rawicz and Landauer.

But what is really impressive with this CD is the number of composers that are largely new to the light music revival scene - at least to my understanding of it. These include the German Ernst Fischer with his attractive Suite: South of the Alps, which for me is the discovery of this disc. It manages to capture the spirit and romance of Italy’s Mediterranean coast in the shadow of those great mountains. Interestingly, this work also includes a ‘concertante’ part for cinema organ and balalaika, although this is not overdone ...

Other composers that are less mainstream than Farnon and Williams include Peter Dennis and his evocative Bright and Breezy which gets the proceedings off to a bouncy start. Harry Warren’s Carnival is perfect descriptive music – although the carnival is in Latin America and not Liverpool or Grimsby! Ragazza Romanza is a lovely tune by a composer simply billed as ‘Roberts’. Toy Town Trumpeters by William Davies is a predictable fun piece that once upon a time would have had some kind of vogue on Children’s Favourites. And Laurie Johnson (theme music for The Avengers and The Professionals) contributes the romantic theme music from ‘Tiger Bay’. Sheer heaven!

The American Sir Chauncey, whose real name is the slightly-less glamorous Ernie Freeman, conducts Christian Bruhn and Georg Buschor’s good string piece, Midi-Midinette. E Bello by a certain Dante Vignali is a moody number that balances strings and brass and sheer sultry romance. Kristina is a lady I would like to meet: I imagine that she impressed Maurice Grabmann too!

I really enjoyed the zippy Stringendo by Ivor Slaney. Musicians will know that this title means ‘gradually faster – pressing forward’: the piece lives up to its title. Dancing Daffodils by Johnny Steggerda is another one of those effervescent little pieces of light music that typifies the genre. Cyril Watters’ contribution Up and Coming is equally as effective whilst Mariano Marquina and his Spanish Gypsy Dance manages to conjure up the sultry summer sun of Spain. The fascinating Sweet Sue by Victor Young and a rather quirky musical portrait of San Francisco complete this musical feast.

One amusing thing I noticed on this CD are the number of people sometimes involved in creating a piece of music – for example Vincent Youmans, Otto Harbach, Herbert Stothart, Oscar Hammerstein II and Reg Owen were all involved in presenting the listener with 1:52 worth of Bambalina: Havergal Brian managed to compose the massive Gothic Symphony all on his own!

Yet every one of these pieces is a joy and a pleasure to listen to. Certainly, after recently reviewing the intense John Joubert Symphony No.2 (In memory of those killed at Sharpeville 21/3/60) it was a welcome relief and a bit of indulgent escapism. However, there is an important point. Each of the works presented on this latest Guild Light Music series can be regarded as a ‘mini-masterpiece’ – not necessarily moving and shaking the artistic world, but being attractive and well-wrought and displaying superb workmanship, imagination and invention.

The only downside to this CD is that Guild do not give the dates of all the composers in the track listings or the liner notes: not all of them can be easily found on the Internet!

Finally, this is a series than can probably continue indefinitely: roll on the next 81 releases!

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

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Gareth Glyn: Welsh Incident - a new CD

Noson yn yr opera (A Night at the Opera) (1997); Welsh Incident (1989); Dinas Barhaus (Enduring City) (2010); Microconcerto for double bass and orchestra (2004); Cariad (2008); Conseirto i’r Utgorn (Trumpet Concerto) (2008); Gwylmabsant (1994); Llam Carw (Stag’s Leap) (2010); Cyfres Fechan i Linynnau (Little Suite for Strings)(2011)

Jonathan Pryce (narrator), Philippe Schartz (trumpet), Dominic Seldis (double bass) and Jane Watts (organ) BBC National Orchestra of Wales/Grant Llewellyn and the Royal Ballet Sinfonia/Gavin Sutherland & Julian Bigg

SAIN SCD2653 2 CDs

This is a fantastic CD: from the first to the last track there is interest, variety, and sheer enjoyment. All the works on this disc are approachable and satisfying, yet they bear repeated hearing. It would be easy to categorise Gareth Glyn’s musical style as being ‘light’ – a number of his pieces have been released on CDs dedicated to that particular genre. However there is a much greater depth and variety to his music that defies any easy attempt at stereotyping.

The first track on this two-CD album is close to my heart. I have to confess that of all the musical forms, opera, is the one that I least relate to. I have tried, but largely failed to get into Wagner, Verdi and Richard Strauss. [I do dote on G&S tho’!]

A Night at the Opera was commissioned in 1997 for the Beaumaris Festival. The composer has written that ‘a three act opera can take as many hours to stage...’ And even longer if it is part of The Ring! What this present piece does is condense the whole operatic experience into ‘one-twentieth’ of the time. The work begins with a mini-overture and is followed by a series of solos, duets, ensembles, recitatives and choruses – minus the vocal parts! Glyn has introduced all the passion, anger, love and humour into a short piece that is well constructed and delightfully scored. It is my kind of ‘Night at the Opera...’

The title track of the CD, Welsh Incident is a marvellous piece. When one takes the poetry of Robert Graves, the music of Gareth Glyn, and the voice of the Welsh actor Jonathan Pryce one is guaranteed a successful work of art. In addition there is a virtuosic part for double-bass which is beautifully played by Dominic Seldis. The action of this ‘narration’ takes place in the sea-side town of Criccieth: it concerns the arrival of ‘aliens’ on a local beach. Do not try to read too much into the text: just enjoy the lovely language and the striking imagery that owes not a little to Dylan Thomas’ Under Milk Wood. It is one of my discoveries of 2011!

The following piece is a much more serious work that owes something to the musical style of Aaron Copland. Enduring City was written to celebrate the 300th anniversary of the founding of New Bern, which was the first permanent seat of the colonial government of the US state of North Carolina. It is an historical portrayal of the city with an optimistic nod to the future. The work has number of sections which refer to people and events in the city’s history. Enduring City opens with a reflection of John Lawson and then Christoph von Graffenried who were the founding fathers. The next movement considers the history of ‘Tryon Palace’, which was the governor’s residence. In this music a variety of historical styles are rehearsed including ‘fife and drum’ bands, minuets and African slave music. The conclusion of this section combines all these elements into a riotous coda. The following movement considers the various conflicts that have beset the city, including a major battle during the Civil War, which is then followed by a long and beautiful meditation on ‘reconciliation and beauty’. Enduring City concludes with a positive look to the future. This is not light music: it is an involved and vital work which is written in an approachable language. It is probably the most important work presented in this retrospective CD.

The Microconcerto for double bass and orchestra is a little masterpiece. It was commissioned by BBC Radio 3 as part of its ‘Endangered Species’ series which was an attempt to encourage young people to take up instruments that were less popular. Gareth Glyn writes that it is the intention of this short work (lasting just 4½ minutes) to explore ‘the full range of the double bass – pitch, technique, style, and so on...’ It is an interesting and often striking exploration. The main ‘slow movement’ theme is gorgeous – I never knew the double-bass could be so expressive and play so ‘high’. It is a work that nods to Charlie Mingus without being in any way a jazz concerto. It should be a Prom favourite!

I really enjoyed Cariad, which is an arrangement or reworking of a number of Welsh folksongs with the theme of love (cariad). This is light-music at its very best with lots of lovely tunes, harmonies and effective orchestration. Look out for a few nods to the brass band tradition. Ardderchog!

The second CD begins with an impressive Trumpet Concerto. This is a good substantial work that is composed in a modern but not ‘difficult’ style. Each of the three movements has a title, which is in Welsh. The first is ‘Hyder’ meaning confidence – which is expressed in music that at times is ‘impetuous, quiet or assured’. It is exciting music that is well-balanced and evokes a variety of moods and emotions. The middle movement is entitled ‘Hiraeth’ which the composer suggests is untranslatable, but means something akin to ‘nostalgia’ or ‘longing’. Certainly Glyn has written heartfelt, almost valedictory music that uses the lyrical tones of the trumpet to such good effect. The finale is based on ‘Hwyl’ which in this usage means ‘farewell’. It is a romp from start to finish, with a gorgeous big tune emerging at the halfway mark. The work closes with rhythmical excitement which the composer suggests is somewhere between laughter and tears. This is a great concerto that demands to be in the repertoire of all good trumpet players. There are so few good examples of the genre: Gareth Glyn’s is one of the best.

It is always good to hear the organ in its secular guise. The concerted piece Gwlymabsant was commissioned by the BBC and was first performed on March 1 1994 with the present soloist, Jane Watts. Gareth Glyn points put that the title literally means ‘the festival of a patron saint’ which was for many years a tradition on Ynys Mon (Anglesey). It was originally a joyous religious festival which changed character over the years into an opportunity for dancing, drinking and feasting. This dichotomy is represented in the music, although the emphasis appears to be on the festivities rather than a deep meditation on the life of ‘any’ saint! The work is full of Mathias-ian rhythmic vitality and angular melodies. A real show stopper!

Llam Carw (Stag’s Leap) is based on a Welsh legend about St. Eilian. He was sent to Ynys Mon as a Papal emissary in the 5th century. One of his early acts was the ‘righteous’ blinding of a certain Cadwallon Lawhir (Cadwallan Long-hand) as a rather severe punishment for cattle rustling. However, the king begged for his sight to be restored. St Eilian agreed on the condition that he (or was it the Papacy) were granted the land that his stag could cover before being brought down by Cadwallan’s hounds. However, the stag leapt across a mighty gorge and escaped the dogs and ran far and wide. Much more land was gained than anyone imagined. The location of the jump is called ‘Llam Carw’ and is located near the town of Amlwch in Anglesey. The subject makes an ideal opportunity for an exciting and musically satisfying little tone poem. The work is in two sections with a ‘leap’ lasting a few seconds in the middle of the piece. The first section is the chase and a highly coloured ‘scherzo’ with some clever orchestration. The leap is cleverly contrived – brass over tremolo strings and then the stag is free (rhyddid) and with tonally unambiguous music escapes the threat of death.

Llam Carw is an excellent example of programme music which does not rely too heavily on the listener following a detailed narrative – chase/leap of faith/freedom is a fairly universal emotion that can be understood without the appurtenances of medieval hagiography. However, the story is a good one and deserves to be remembered.

The final work on this retrospective CD is the absolutely charming Little Suite for Strings. To my ear this is a work that is right up there with all the best ‘string orchestra’ pieces in the British music repertoire. The work is divided into five movements – Strings on the Wing, Waltz, Moto perpetuo, Prayer and Hoedown. Perhaps the opening movement is the most impressive and the waltz is a little gem. The concluding Hoedown is as good as the slightly better known example from Rodeo by Aaron Copland!

Only two minor complaints about this CD – firstly it is a wee bit short – with just over 100 minutes of music on two discs. And secondly, the liner notes are difficult to read: maroon-ish text on grey, shiny paper!

This is a great double CD that will give much pleasure and entertainment to listeners. However, there is also a great deal of music here that is deeper and requires our attention and concentration. Gareth Glyn is one of the best composer’s around and I guess that he deserves a greater popularity. This CD is an important step in that direction. I await (eagerly) a release of his fine symphony.

This CD can be ordered from Sain Records

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Erik Chisholm

Erik CHISHOLM (1904-1965)

Music for Piano, Volume 7

Five Elegies; Peter Pan Suite; Praeterita (Sonatina no. 4) – First Movement; Suite No. 1; Suite No. 2; Suite No. 3 (Ballet)

Murray McLachlan (piano)

Divine Arts ddv24155 [68:45]

According to the excellent liner notes by John Purser, this present volume of ‘Music for Piano’ by Erik Chisholm is likely to be the last. He writes that unless ‘current research work uncovers sufficient previously unknown material... [which] at present seems extremely unlikely,’ there will not be an eighth volume. It is a job well done. I have had the pleasure of reviewing all previous releases of this series and have been struck by the vitality, technical competence and sheer ‘enjoyability’ of virtually every work presented. The seventh volume is designed to tidy up a few loose ends. Purser suggests that this disc ought to be listened to ‘within the context of the whole series.’ And he is correct. I guess it is unlikely that many people will set off on their exploration of Chisholm’s piano music with this CD. Most of the pieces on this disc are ‘light’ music – with the exception of the Elegies and the Fourth Sonatina. However, that does not mean that the other works are unworthy of our attention or lack inspiration and sheer musicality.

The most important pieces on this CD must be the five Elegies with which the CD opens. These are dark introspective numbers that reveal the pianistic style of Erik Chisholm at his very best. Most of these elegies are derived from tunes which the composer had found in a variety of ‘song books’ such as the Reverend Patrick MacDonald’s Collection of Highland Vocal Airs. However it is important to emphasise that these are not direct transcriptions of the tunes; nor are they simply arrangements or variations. This is not a pastiche of ‘highlan’ music designed to portray a sentimentalised view of the people and places of Scotland. Chisholm’s music is manifestly influenced by his native musical sounds and rhythms, but the resultant can only be defined as a part of the Western tradition of both Schoenberg and Bartok. A note on the Chisholm Website explains this well – ‘He is also alone in his attempt to infuse into symphonic structure the forms of Celtic music-lore (e.g. the pibroch) as distinct from the introduction into present-day forms of merely discursive Celtic atmosphere.’ These five elegies display this ‘symphonic structure’ in spite of their short duration.

When I first came across Erik Chisholm’s music I read somewhere that he had composed a Peter Pan Suite. Alas, as each CD was issued, this work appeared to be missing. However all things comes to him (or her) who waits.

The Suite was composed in London during 1924, which was some 20 years after James Matthew Barrie’s children’s classic was first published as a stage production. Many people have tried to get to the bottom of this timeless classic and analyses abound. However, it needs neither Freud nor Jung to enjoy the story, save to say that the underlying themes would appear to be a ‘conflict between the innocence of childhood and the responsibility of adulthood’.

Erik Chisholm’s Suite is divided into five attractive, but rather concise movements. All the key players from Peter Pan and Wendy are incorporated into the music. From the capricious Peter himself, to the will o’ the wisp Tinker Bell, the lugubrious Crocodile, the more complex than would at first appear ‘Wendy’ theme. Finally, Captain Hook is portrayed by something a little more sinister.

There is nothing particularly difficult (aurally) about this music; however it fair to say that it is an adult’s appreciation of the childhood story. Chisholm never indulges in sentimentality or kitsch.

The Sonatina No.4 is a different story. Part of a series of works entitled E Praeterita (From the Past) is is one of six such pieces. [For the connoisseur, Nos. 1 and 2 are given in Volume 3, No.3 on Volume 4 and Nos. 5 and 6 on Volume 5 of this series]

Only one movement is included of this three movement work: one has been lost and another has reappeared as ‘The Jew’s Dance’ in the Fifth Sonatina. John Purser suggests that this surviving first movement is effectively a transcription of a lute-dance by Hans Neusiedler (1508-1563). However in Chisholm’s hands the music transcends time and becomes an exciting work that almost defies categorisation. It was completed in 1947.

The Three Suites presented here are attractive and enjoyable, but they are not in the composer’s typical style. However they differ from much salon music in their ‘spareness’ of texture, their lack of cliché and their harmonic subtlety. Listen to them one at a time.

The First Suite is in five ‘conventionally’ named movements. It opens with a ‘Caprice ‘that is full of light and sunshine. Yet even here there is a depth and modernity of language that would not be found in a similar suite by Montague Ewing or Haydn Wood. The Feuillet d’album (Leafs from an Album) is a diverse little piece that explores a variety of moods and pianistic formula. The Scherzo is a chipper number that ‘exploits [the] rapid alteration of hands.’ Certainly it sounds a bit tricky to my ear. The ‘waltz’ is probably quite typical of the genre: pleasant but nothing more. Finally, the ‘Moto Perpetuo’ brings the Suite to an exciting conclusion.

To my ear there is nothing of ‘persiflage’ about the Second Suite: it may be fun, but it is never trivial. The first movement is a complex, involved piece that belies the playful nature of some of the passages and the the use of a nursery tune at the conclusion. The second movement, a Caprice is played ‘allegro scherzando’. This is an intense scherzo that has a wide variety of moods and a certain hard edge that denies the concept of a ‘musical joke.’ The next movement is funny: it is based on Euphemia Allen’s universally known chopsticks, which are subject to a number of ‘petite’ variations. However even here there is an edginess that ensures the listener does not dismiss this as nugatory. The ‘Intermezzo’ is a trippy little piece that nods towards the salon. John Purser suggests that it appears to be ‘an exercise in simple pianism [rather] than an inspired piece of music’. He suggests a little editing may have done it a power of good. The final ‘Jig’ is complex and ‘fluent’ however it is not a ‘bucolic’ example so popular with composers of light music. It is an astringent piece of music.

The Third Suite is entitled ‘Ballet’. This is brittle, often staccato music that is hard to pin down. Purser has noted the cross-rhythms and the ‘quirky changes of pace.’ Yet it is quite definitely ‘dance’ music – one cannot listen to this without the mind’s eye seeing it interpreted by a dancer. One recalls Chisholm’s commitment to ballet – The Hoodie Craw and The Forsaken Merman being two important scores. The present Third Suite is often romantic in a fugitive sort of manner – but the abiding impression is of quicksilver. Puck or Robin Goodfellow is a likely inspiration.

John Purser sums this CD up very well when he notes that ‘we leave Chisholm’s music then, not with any grand gestures, modernist assertions, Scottish determination or lyricism, but with unaffected, easy going and undemanding pleasures...’

I have noted before the great commitment that the pianist Murray McLachlan has made to this cycle of seven CDs – as well as other recordings of Erik Chisholm’s music. It is a major achievement that deserves to be lauded. The liner notes by John Purser are essential reading, for apart from that author’s excellent monograph on the composer, there is little information about the man and his music that is easily available. The sound recording is superb and benefits from the sympathetic acoustic of the Whiteley Hall, Chetham’s School of Music, Manchester One minor criticism: I would have liked to see the dates for all these pieces given, however it may well be that they are not yet definitively established.

Finally two things need to be said. Firstly, this is the authoritative edition of Erik Chisholm’s music. I cannot imagine another cycle of this piano music being recorded in my remaining lifetime. We are fortunate to have such an exemplary production as that which Divine Art has provided for the listener over the past few years. And, secondly, it is hardly possible to listen to the works on this present CD and the other six and not wonder how such an important contributor to the literature of the piano has gone virtually noticed by lovers of piano music. I make no excuse for concluding this review by quoting myself! ‘I believe that Erik Chisholm is so important that his music ought to have International status rather than just a local interest. I repeat [again!] my assertion that this series of CDs showcase one of the most important “musical discoveries and revelations of the Twenty-First Century’.

With thanks to MusicWeb International where this review was first published

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Edward Elgar: Rare Movie film

Just a very short post today. This lovely compilation of rare Elgar 'home movies' has appeared on YouTube. Lots of fine footage of Elgar's dogs,including Mina and Marco. They have been beautifully restored and make a very personal portrait of a great composer. Attractive music has been added as a soundtrack.

There is a concluding shot of the composer conducting at Abbey Road Studios.

And, finally look out for the composer throwing a match onto the ground outside Worcester Cathedral!

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David Dubery: Songs and Chamber Works

David DUBERY (b.1948)

Songs and Chamber music

Sonatina for oboe and piano (Threesome for 2 players) (1986); Three Songs to Poems by Robert Graves (for mezzo soprano, recorder and piano (2001); Four Songs for mezzo soprano and piano (1971-1985); Suite from Degrees of Evidence for recorder, oboe and viola (2004);‘Remember’ for voice and piano (2005) Two Stopfordian Impressions for recorder and piano (2008-2009); Sonata for cello and piano (2006); Escapades for recorder, bassoon and piano (2008-2009); Walking Cimbrone for bassoon and piano (2007) Harlequinade for recorder and guitar (2007) ‘Mrs Harris in Paris’ (Valse Temptation) for treble recorder and piano (2003)

Adrienne Murray (mezzo-soprano) John Turner (recorder) Peter Dixon (cello) Richard Simpson (oboe) Graham Salvage (bassoon) Craig Ogden (guitar) Richard Williamson (viola) David Dubery (piano) Paul Jones (piano)

Metier MSV28523 [78:47]

Until hearing this CD, David Dubery was a composer largely unknown to me. I had heard his short miniature Mrs Harris in Paris, but that is all. However, as a Manchester-based composer he appealed to me. It seems that so many great and good composers from that part of the world have been largely sidelined by the musical establishment. Think only of Eric Fogg, Thomas Pitfield, John Foulds and Alan Rawsthorne, to name but four.

It is not the place to give a comprehensive biography of David Dubery; however three things can be said. Firstly he was born in Durban in South Africa in 1948. In 1961 he came to his mother’s home town of Manchester. Secondly, from an early age he composed music and later studied at the Northern School of Music between 1964-1967. He has spent the intervening years working in the fields of music, stage and broadcasting. And thirdly, he works in a traditional musical language that is approachable, but sometimes demanding. He prefers to compose miniatures rather than large scale pieces, however amongst the songs and the chamber pieces there are a few musical theatre pieces such as Once upon an Ark and an American styled musical called Love Lines. Although there is no symphony (yet) there are a number of concerted works and tone poems.

The best place to start this fascinating musical journey is spending some time with Mrs. Harris [who] goes to Paris. This miniature for recorder and piano is subtitled Valse Temptation! The original work dates back to 1980 when the composer was working on a musical adaptation of the novel of the same name by Paul Gallico. Some of the music was reworked into the present ‘Parisian Waltz’ in 2003. Apparently the ‘temptation’ was not a man but a Dior gown! A lovely little piece to get to know the composer with.

I know that it is working backwards through the track-lisitng, but the delightful suite Harlequinade is a good place to continue our exploration. This was written in 2007 for the unusual combination of guitar and recorder. Just to recap, the name Harlequinade was given to the 18th century English adaptation of the Italian commedia dell’arte. There are four lovely, varied and balanced movements. The work opens with Pantalone’s Minuet which is a wistful (but with an occasional ‘edge’) little number with some really ‘Mediterranean’ moments about it. Pantolone was the greedy and ‘over-amorous’ father of the lovely Columbine. He tries to keep his daughter and Harlequin apart. The second movement, which is short, reveals her ‘gossiping and intriguing’. However, this is followed by Columbine’s Romance with Arlecchino (Harlequin). This is the heart of the work: a truly beautiful piece of ‘love’ music. The final movement is given over to Harlequin himself with a lively and vibrant dance –this includes a drunken moment from which everyone eventually sobers up. Altogether a great little suite that is totally in sympathy with its subject. However, I would prefer to hear the recorder part played by the flute: I understand from the composer that such an arrangement exists.

I would then move on to the short Walking Cimbrone written for bassoon and piano. It was inspired by a stray dog that ‘adopted’ the composer and his partner whilst they were visiting the Villa Cimbrone in Ravello. Dubery writes that the ‘dog was ... sad, comic and caused embarrassment at every turn. Certainly the present pieces matches Elgar’s Mina as a nice little character sketch of ‘man’s best friend!’ The piece was written for the bassoonist Graham Salvage.

Escapades also had Salvage in mind. These four short pieces were composed in 2008 for recorder, bassoon and piano. The musical idea is to present material as a conversation or dialogue between all three players. The suite has great variety, with an opening movement of considerable metrical change; the second is a bit hard-edged and has ‘oriental’ overtones. The third is a rhapsody of some beauty, whilst the final movement is a neo-classical dance.

As part of our wayward exploration of this CD it would be good to now examine some of the songs. A number of poets are represented including Hilaire Belloc, Jonathan Swift, Robert Graves, Douglas Gibson and Dante Gabriel Rossetti. Begin with the lovely ‘Remember’ by Christina Rossetti from her Goblin Market sequence. It is a well-wrought little song that expresses the brave sentiments of the poem. Certainly the last line is heart-breaking ‘Better by far you should forget and smile/than that you should remember me and be sad.’

The Four Songs for ‘medium voice’ are worthy additions to the repertoire of English lieder. The set opens with Douglas Gibson’s fine poem ‘Another Spring’. Gibson is a poet that I do not know, but his lines are a perfect example of pastoral poetry that nods to John Clare: it is sympathetically set by Dubery. Dante Gabriel Rossetti’s great metaphysical poem, ‘Sudden Light’ (I have been here before/but when or how I cannot tell) is the heart of the cycle. This is deep and thoughtful music. Things lighten up a bit with Swift’s ‘rollicking, colourful Irish characterisation, ‘Onyons’. The final poem is the favourite Belloc poem ‘The Birds’ – (When Jesus Christ was four years old/The angels brought Him little toys of gold). It is a setting that reflects the childlike simplicity of the words, but also notes the deeper thoughts hidden between the lines. It was the composer’s first published song in 1971.

There were originally another two songs in this group but these were set aside.

Move back now to instrumental music. The Two Stopfordian Impressions for recorder and piano were written for the redoubtable John Turner. For those not blessed with North-Country connections the adjective ‘Stopfordian’ applies to people and things related to the great Cheshire town of Stockport: pupils at Stockport Grammar School style themselves Stopfordians. David Dubery has composed two delightful and utterly poetic little numbers called Pinch Belly Park and The Glass Umbrella. The former is evocative of a winter’s day walk in the said Pinch Belly Park, which is the local name for Vernon Park. This is a little bit of minimalism that creates a chilly feel. The latter is a musical portrayal of the stunning Victorian market hall and St Mary’s Church bells. The work was composed in 2010. There is also a version for oboe and piano.

I have a problem with the Three Songs to Poems by Robert Graves: I really feel that the woodwind part does not add value. In fact, I believe that the tonal characteristic of the recorder jar or competes with the singer: it certainly does not complement her. I would rather hear this in a revised arrangement for piano and mezzo-soprano only. The songs themselves and their performance (the above comment notwithstanding) are absolutely beautiful – encompassing moods from the dreamlike ‘Under the Olives’ to the urbane ‘I will write’ which borders on jazz. The first performance of these songs took place at Prestwich Music Club in 2003.

After this move onto the Suite from Degrees of Evidence for recorder, oboe and viola. Not the set of pieces that most impressed me: they seemed just a little contrived. For one thing they are only four of six pieces that were originally conceived. They are based on a ‘chapter heading class 4, ‘intellect’ from Roget’ Thesaurus!’ I find them disjointed and largely unmemorable. Perhaps the version for String Quartet may be more impressive? There are four movements: ‘Memory’, ‘Certainty’, ‘Possibility’ and ‘Absurdity’.

Lastly, it is time to move onto the two most impressive, and possibly the most important works on this CD. The disc opens with the Sonatina for oboe and piano which is subtitled ‘Threesome for 2 players.’ This short work is in three clever and well-balanced movements which display the talent and technique of both oboist and pianist. From the opening bars of the ‘allegro vivace’ with its ‘quirky’ tune to the closing ‘cheeky’ passages in the ‘presto’ this work hold the interest both entertains and impresses. The middle movement, which is a little ‘moderato’ pastoral, is truly lovely and quite moving. This Sonatina is fresh, tuneful and a delight. It deserves to be in the repertoire of all oboists.

The masterpiece (in my opinion) on this present CD is the Cello Sonata. This work was originally conceived for double-bass and piano; however that work never came to pass. The Sonata was completed in 2006 and lasts for about eleven minutes. It is in three movements. This is lyrical work, that sits fairly and squarely the late twentieth century tradition of music that does not challenge the listener with issues of musical language, but certainly makes demands on their emotional engagement. The heart of the work is the deeply-felt ‘lento’ – which is both profound and moving. The composer suggests that this music was inspired by a tramp across the hills above Varenna, near Lake Como in Italy. However all is put to rights in the frenetic ‘energico’: apart from a brief respite, this is all movement and pace. The cello part sounds extremely difficult, with the pianist’s technique is pushed a bit too. The conclusion is ‘bravura’ to say the least.

This is an important Cello Sonata that must surely enter the repertoire. There is not a bar of this piece that is not interesting, enjoyable and satisfying.

All in all this is a great ‘retrospective’ CD of music by the Mancunian composer David Dubery. With one exception, I enjoyed every single item on this disc. Let us hope that over the coming years many other works from his catalogue find their way into the recording studio.

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Frank Bridge: Piano music on SOMM Volume 3

Frank Bridge (1879-1941) Piano Music Volume 3

Three Poems: ‘Sunset’, ‘Solitude’ & ‘Ecstasy’ (1913-14); Hidden Fires (c.1926); Arabesque (1914); Three Pieces: ‘Moderato’, Pensée Fugitive & Scherzettino (1902-03); Miniature Pastorals Set 3 (1921); Three Improvisations (for the left hand): ‘At Dawn’, ‘A Vigil’ & ‘A Revel’ (1918); Winter Pastoral (1925); Three Lyrics: ‘Heart’s Ease’, ‘Dainty Rogue’ & ‘The Hedgerow’ (1921-24); A Dedication (1926); Berceuse (1901); Canzonetta (Happy South) (1926); Gargoyle (1928)

Mark Bebbington (piano)

SOMMCD0107 [75:46]

It is absolutely necessary to explore this excellent, CD in a systematic manner. The last thing the listener should do is through-listen without a break. I would suggest a largely chronological walk through these pieces.

The Berceuse, which is the earliest piece on this CD was originally composed for violin/cello and piano in 1902. It was ‘dished up’ in a number of arrangements, including one for violin and orchestra, and also large and small orchestras. However, in 1929 a version was published for piano solo. This is a gorgeous little work with a ‘gentle, lulling tune’ that fully justifies its title. Like much of Bridge’s so-called ‘salon’ music, this goes beyond the genre with its subtlety and elegance.

Amongst the early pieces are three short works that may or may not be grouped together: - the Moderato, the Pensée Fugitive and the Scherzettino. They are presented as having separate catalogue numbers in Paul Hindmarsh’s catalogue. The ‘Moderato’ was composed in September 1903 which was some five months after Bridge had left the Royal College of Music. It is a rare little work that has hints of Vaughan Williams and is composed in a contrapuntal style, rather than with complex piano figurations.

The Pensée Fugitive from the summer of 1902 is a lovely little piece that is varied and interesting, certainly summing up the idea of a ‘fleeing thought.’

The Scherzettino was composed sometime between 1901 and 1902. It is a student work, but is none the worse for that. These three works are not particularly remarkable, however they were probably written to demonstrate various pianistic styles and techniques: they may not have been meant to survive into posterity.

The Three Poems (1915) are remarkable pieces. The liner notes rightly suggest that the composer is beginning to develop his musical language, without upsetting the sensibilities of his ‘Edwardian admirers.’ It would appear that originally these pieces were to be issued as ‘Four Characteristic Pieces which also included the Arabesque (1916). The three poems are ‘Sunset’, ‘Solitude’ and ‘Ecstasy’. I find these pieces quite challenging: they certainly contain a greater concentration of emotion and depth of interest than some of the earlier piano pieces. For one thing there is an increasing chromatic feel to this music, however this is not an abandonment of tonality but a certain blurring around the edges. This is especially evident in the ambiguous ‘Solitude’. ‘Ecstasy’ is massive, involved, colourful and full of passion.

The Arabesque sounds much more antagonistic than the title would suggest; certainly this is no will o’the wisp’ piece of whimsy.

The Three Improvisations (for the left-hand) were composed for the pianist Douglas Fox who had tragically lost his right arm during the Great War. The three pieces are:- ‘At Dawn’, ‘A Vigil’ and ‘A Revel’. The first two numbers are filled with emptiness and foreboding. The last is a little more open-hearted, but certainly does not fully justify the title. However, there is a rare beauty about these improvisations that defies analysis. Interestingly, the composer wrote to Fox, ‘I doubt whether you will be attracted when you try the pieces through at first, but just work at them a little and then I fondly hope they will stand up on their own legs and smile at you.’ There seems little to ‘smile’ about however, in these Improvisations.

Mark Bebbington recorded the Miniature Pastorals Set 1 in the second volume of his Bridge cycle. However, he has not chosen (so far) to include the second set dating from 1921. The present Miniature Pastorals Set 3 was not published in the composer’s lifetime. There were sketches and fair copies for three pieces dating from 1921 plus sketches only for a fourth piece. The first three were finally published in 1978 in an edition edited by Paul Hindmarsh: these include an ‘andante molto tranquillo’ an ‘allegro con moto’ and an ‘allegretto vivace’. The fourth piece, a ‘marziale e ben marcato’ was not included in the sheet music as it was felt the composer had rejected it: according to Hindmarsh, the ‘musical quality falls far below that of the other pieces.’ Calum MacDonald has defined these pieces well: he suggests that these miniatures ‘represent an elegant simplification of his mature idiom.’ They are truly delightful numbers that do not suffer from being in the gift of amateur pianists.

One of the few pieces of Frank Bridge that I can play tolerably well is ‘Heart’s Ease’ from the Three Lyrics. So it holds a special place in my ‘heart.’ Alas the other two pieces are not quite so ‘easy’. ‘Dainty Rogue’ could be a picture of Robin Goodfellow or Puck: it is a frisky little scherzo that is demanding of the player with its light figurations and chromatic passages. As Lewis Foreman says, Bridge ‘prefers his scherzos to be thistledown rather than hobnail boots.’ The final ‘Lyric’ is ‘The Hedgerow’. I am not sure that this piece is evocative of the English (or any other) landscape. Yet this work is a clever little confection – which opens with the promise of a folk-tune melody –that soon develops into something a lot more ‘advanced’. Yet the ‘tune’ is revisited – in spite of the rhythmic and metrical diversity of the contrasting material.

The first two ‘Lyrics’ were composed in 1921/22 and the final was not written until 1924. As Calum MacDonald has noted they therefore ‘frame’ the great Piano Sonata.

It has been suggested that in some ways this little suite could be seen to epitomise the composer’s career (so far). Perhaps ‘Heart’s Ease’ nods to the salon music of the Edwardian years, ‘Dainty Rogue’ may represent the ‘advanced’ chromaticism of the post-Great War period and the final ‘The Hedgerow’ could be pushing towards atonality.

Winter Pastoral from 1925 is written in Bridge’s ‘later’ chromatic style. In this case it is not a virtuosic piece; it can be played by any good pianist. However, its ‘chilly’ language and subtle balance of dissonance and traditional harmonies are difficult to ‘pull off’ well. It describes a cold, frosty morning to perfection. However, it is a million miles away from any kind of ‘folksy’ bucolic pastoral scene.

I love the little short ‘Canzonetta’ (1926) which was originally called ‘Happy South.’ It is a good balance between the dreamy pastoral mood of the outer sections and the short, and more frenetic ‘trio’. However this irruption is short lived: the gorgeous mood soon returns and the piece ends in quiet contemplation. It would make a good pendant to the Vignettes de Marseille.

Another innovative work from 1926/27 is Hidden Fires. Lewis Foreman notes that this piece was specifically composed for the recital room and demands total technical competence from the pianist. Mark Bebbington’s website suggests that this work is a ‘simmering toccata [that] recalls Scriabin’s Vers la flamme’. It is certainly the composer moving beyond his usual comfort zone, perhaps towards Bartok and bitonality? Yet he never entirely evacuates the work of romanticism.

The year 1926 also saw the somewhat mysterious A Dedication. For one thing, the work would appear to carry no actual dedication on either the printed score or the holograph. The musical basis of this piece would appear to be two simple themes; however they are developed in a ‘dislocated’ manner that lends towards harmonic complexity and ‘tonal ambiguity.’ This is a deeply felt piece that would appear to inhabit the same mood as that of the Third String Quartet and the later Oration for cello and orchestra.

The last original solo piano piece that Frank Bridge wrote is usually regarded as his ‘harmonically most advanced piano work.’ In fact, Gargoyles, which was composed in July 1928 was rejected by his publisher and lay unheard until 1975, when the pianist Isobel Woods performed it at a musical conference. This is an enigmatic, sarcastic, daring and technically demanding work that well reflects the title. This work is in total contrast to the early Berceuse composed a quarter of a century earlier. Yet in spite of the ‘bitonal procedures,’ its atonal mood and the largely impressionistic feel, there is certain intangible something to Gargoyles that makes this piece equally a part of Bridge’s canon of piano music as the salon pieces of the Edwardian years.

It is not possible to fault any part of this CD production by Siva Oke and SOMM. The playing by Mark Bebbington is superb and totally sympathetic to the various ‘periods’ of Frank Bridge’s compositional style, the sound is perfect, the liner notes by Lewis Foreman are totally helpful and informative.

I am not sure if this is the final chapter of the Bebbington Bridge Cycle – certainly there are a few more numbers that could be recorded, but many of these are arrangements or ephemeral works that may or may not be regarded as a part of the canon. Whatever the future, this present CD presents a number of remarkable and important works. It is a worthy part of what is a major, important project that adds a vital chapter to British recorded music.

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

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The Festival of Britain 1951: Some commissioned works

British Music was deemed to be an important part of the 1951 Festival of Britain. There were a series of eight concerts devoted to the music of Henry Purcell alongside recitals of English Song, ranging from the lutenists to contemporary composers. Alongside this British music a vast range of works were played from the standard international repertoire.

However, a special feature of the Festival of Britain was the Arts Council decision to commission a number of new works. In many ways this brave attempt did not go entirely to plan. Arthur Bliss was approached to write a major choral work, however it did not materialise. Nothing came of Arnold Bax’s attempt at writing a 'Festival Overture'. John Ireland was also approached, but nothing appeared.

However a number of important works were presented in the concert hall. These included William Alwyn’s Festival March, the Festival Te Deum by Edmund Rubbra, Gordon Jacob’s Festival Suite for Military Band and Alan Rawsthorne’s Second Piano Concerto. Other works included were a unison ‘Song for a Festival’ by Sir George Dyson, and Thomas Wood’s large scale The Rainbow: A Tale of Dunkirk for tenor, baritone, male chorus and brass band.

A competition was held for a work from young composers. This was won by Peter Racine Fricker with his Concerto for Violin and small orchestra Op.11. He also composed the score Canterbury Tales for the Ballet Rambert. Richard Arnell produced the score for Harlequin in April which was choreographed by John Cranko and Constant Lambert wrote the music for Tiresias for the Sadler’s Wells Ballet.

Other works were commissioned by organisations supported by the Arts Council. They included the new Ralph Vaughan Williams work The Sons of Light for the Schools Music Association. The Riddick String Orchestra produced Gordon Jacob’s Horn Concerto, Elisabeth Lutyens’ Nativity and Cyril Scott’s Irish Serenade.

Reflecting on these commissions some sixty years after they were first performed is a sad business. Virtually none of these works found a place in the concert hall repertoire in succeeding decades. Fortunately, a few are available on CD or MP3, however these tend to be single performances. In the case of Thomas Wood, Cyril Scott, Elisabeth Lutyens, Edmund Rubbra and George Dyson we still await a recorded performance.

Finally the stories of how Benjamin Britten’s Billy Budd did not receive a performance at the Festival of Britain, of the endeavours of the composers 'Squirrel', 'Dudley Underwood', 'Stagestruck' and 'Charles Francis' to win a prize for an opera, and George Lloyd’s John Socman are perhaps material for a future post.

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