Irene Scharrer playing Cyril Scott’s 'Danse nègre'

I was recently given the ‘The Complete Electric and Selected Acoustic Recordings’ of Irene Scharrer as a Christmas present. Much could be written about this stunning release from Appian Publications & Recordings Ltd., however it was one piece that immediately caught my ear - Cyril Scott’s ‘Danse nègre’

Irene Scharrer was born in London on 2 February 1888. She studied at the Royal Academy of Music under Tobias Matthay. Her debut as a concert pianist was in 1904 when she was only 16: she played Chopin’s Rondo in E flat Op. 16 ‘…with wonderful finish and very remarkable technical skill’.

Irene was to continue her public career until 1958 after which she disappeared from public view. Her final appearance was at a Matthay Centenary Concert held at the Royal Academy of Music when she played the Mozart two-piano sonata with her friend and fellow-Matthay pupil Myra Hess. At the height of her career she toured in both the United States and in Europe, playing under conductors such a Nikisch and Richter.  Scharrer was not deemed (by contemporary critics) to have a powerful pianistic style: she had a sensitive, intimate technique that favoured the Romantic music of the 19^th century with Chopin being one of her favourites.  Irene Scharrer died on 11 January 1971.

The ‘Danse nègre’ must be one of the most recorded of Cyril Scott’s works with more than 20 versions listed in Laurie J. Sampsel’s Bio-bibliography of the composer.  The composer himself issued a number of ‘piano-rolls’ of this work. Irene Scharrer recorded the piece on HMV D84 (78rpm) in 20 September 1915. It was coupled with Frederic Chopin:  Etude op.25 No.6. (which is not included on the APR CD release.)

Cyril Scott wrote his ‘Danse nègre’ Op.58/5 (W89) in 1908: it was dedicated to the composer Norman O’Neill and his wife Adine. The sheet music was published in the same year by Elkin & Co and in 1935 the work was issued in a two piano, 4 hands version.

This brilliant, lively piece owes much to the pianistic styles of Claude Debussy and Maurice Ravel. However, Scott has added a ‘well accentuated rhythmic swing’ and a ‘sparkling’ harmonic accompaniment to his work Leslie De’ath has noted that the title will immediately remind listeners of Debussy’s ‘Le Petit nègre’ in spite of it not being a cake-walk. Interestingly, Scott’s work was composed before Debussy’s! It also reminded me of the opening Prelude from Ravel’s Le Tombeau de Couperin and the concluding movement of his Sonatine.

I was unable to find any contemporary reviews of Scharrer’s recording of this piece, however Jonathan Woolf reviewing the APR release has suggested that ‘her Cyril Scott piece, ‘Danse nègre’ is wittily vivacious’. In fact I would go beyond this and suggest that it is a stunning performance by a pianist who has shown herself to be competent with the music of Debussy as witnessed by her superb recording of ‘Poisson d’Or’ and ‘Reflets dans l’eau’. Irene Scharrer manages to balance the exoticism of ‘Danse nègre’ with the technical intricacy of the piece and the impressionistic harmonies.

‘Danse nègre’ is recorded on ‘Irene Scharrer: The Complete Electric and Selected Acoustic Recordings’ APR 6010  A large part of this piece can be heard as a sample on this webpage (penultimate track). For a modern comparison I recommend Leslie De’ath on Dutton Epoch CDLX 7224 There is a recording of a piano roll made by Cyril Scott on YouTube. 

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Sir Arthur Sullivan: The Beauty Stone on Chandos

In recent years there has been a gentle revival of Sir Arthur Sullivan’s operas that do not have librettos by W.S. Gilbert. In May 1999 the BBC Music Magazine issued The Rose of Persia as its disc of the month.  The Gilbert and Sullivan Society of Edinburgh released an LP of The Chieftain and The Contrabandista in 1986. It was re-released on CD in 1999.  The Emerald Isle appeared in 1982 and was re-issued on CD in 2003. In 2000 the Prince Consort of Edinburgh produced the first complete recording of Haddon Hall. It is interesting that George Bernard Shaw believed this to be the best of the Savoy Operas: apparently the work actually managed to overtake the box-office receipts for The Mikado. 

After The Gondoliers (1889) the composer collaborated with Julian Strurgis in his only ‘grand opera’ - Ivanhoe (1891) which was based on Sir Walter Scott’s tale. In 2010 the BBC National Orchestra of Wales conducted by David Lloyd Jones made the first professional recording of this opera on Chandos. It was a surprising success and received excellent reviews.  So it is time that listeners had an opportunity to hear The Beauty Stone. And what a surprise this work is. In spite of a problematic plot, Sullivan has contributed some of his most attractive music.

I do not believe in giving the plot of an opera in a review: not everyone knows the story and some may wish to enjoy the unfolding tale. However, it is fair to say that the ‘book’ is a bit of a confection of Goethe’s Faust, the Brothers Grimm and Gothic Horror. The libretto is by Joseph Comyns Carr and Arthur Wing Pinero and was reworked from an old German legend. The main scheme surrounds the transformation of a disabled girl into a beauty and back again. Other characters in the opera discover that this ‘beauty’ is in the eye of the beholder. The tale is set in the small Belgian town of Merlemont at the beginning of the 15^th century.

The opera was first heard at the Savoy Theatre, London on 28 May 1898. However it was hardly a success, lasting for only fifty performances.  The main critical concern was that the words were unworthy of the music. Furthermore, the length of the original production, lasting more than four hours did not endear the work to audiences more used to the standard repertoire of ‘G&S’ operas. Much of the dialogue was subsequently cut.  Some of the musical numbers were also excised to try and make the work more approachable.  The present recording has restored the music but has (wisely) opted for not including the dialogue.

I am totally impressed and convinced by the music. My thoughts are that this is an important rediscovery of some of Sullivan’s best work. The music lies between Ivanhoe as a full-blown grand opera and the better known Savoy operas. Sullivan had imagined this as a music-drama rather than a comic opera. There is still much of the wit that listeners associate with The Gondoliers and The Mikado, but there is a depth and intensity that goes beyond what the operagoer typically associates with Sullivan’s music. This is subtle music that genuinely explores emotional depths and allows characters to develop. Any doubts I have about the plot are nullified by this beautiful score. It is not exaggerating to suggest that it is a masterwork.

The booklet is a stunning production: it is a model of its kind. The text is given in English, German and French, so clearly Chandos feel that The Beauty Stone will have some reach beyond the shores of the United Kingdom. 

The liner notes are divided into a number of parts. William Parry has given an historical introduction to the opera. Martin T. Yates has provided a significant musical analysis which bears study. There is also an extremely detailed synopsis of the opera’s progress. However, one of the most important elements of these notes is the contemporary report from The Daily News (25 May 1898) which features an interview with Sir Arthur.  

Interesting illustrations include an original advertising poster by John Hassall, the programme for the opening night, and a number of photographs from the 1898 production of the heroine, Laine, before and after her transformation.  The track listings are conveniently tied into the libretto page.

There are the usual notices of the principals, the BBC National Orchestra of Wales, BBC National chorus of Wales and chorus and the conductor Rory Macdonald. Details of the Sir Arthur Sullivan Societyare included.  My only concern is that the font is necessarily small: I read it on my computer from the .pdf file.

It seems superfluous to state that the sound quality of this recording is excellent. As with any opera, it can be difficult to balance orchestra, chorus and soloists. Chandos have done a sterling job with this CD. The enunciation of the principles and chorus is perfectly clear: I hardly needed to follow the libretto in order to understand the plot.  The singing is unbeatable, with all the soloists entering into the spirit of the story. What impressed me most was the orchestra: so often G&S performances are marred by a necessarily pared-down band. The BBC National Orchestra of Wales make a major contribution to hearing this opera in ideal conditions.

In recent years there has been an increasing interest in Victorian and Edwardian opera in general. Witness the revival of George MacFarren’s Robin Hood and William Vincent Wallace’s Lurline. The Beauty Stone makes a worthy companion to these as well as the other operas that Sullivan composed without the aid of Gilbert’s librettos.

In spite of my reservations about the plot, I have to say that I was impressed by virtually every bar of this music. This is not second-rate Sullivan, but the Master at his very best.

Sir Arthur SULLIVAN (1842-1900) The Beauty Stone (1897-98)

Toby Spence (tenor) - Philip

David Stout (bass) - Guntran

Stephen Gadd (baritone) - Simon

Richard Suart (baritone) - Nicholas

Alan Opie (baritone) - The Devil

Elin Manahan Thomas (soprano) - Laine

Catherine Wyn-Rogers (mezzo-soprano) - Joan

Madeleine Shaw (mezzo-soprano) - Jacqueline

Rebecca Evans (soprano) - Saida

Olivia Gomez (soprano) - Loyse

Sarah Maxted (mezzo-soprano) - Isabeau

Llio Evans (soprano) - Barbe

BBC National Chorus of Wales, BBC National Orchestra of Wales/Rory Macdonald

CHANDOS CHAN10794 (2)

With thanks to MusicWeb International where this was first published.

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Ronald Binge: Listings of Music recorded on the Guild Light Music Series.

At the time of writing this post (February 2014) there are some 22 CDs listed in the Arkiv catalogue featuring the music of Ronald Binge.  There are also about 22 individual works listed.  Unfortunately only one disc is currently dedicated to the composer –Marco Polo 8.223515 - which was released 20 years ago.  There are 10 CDs featuring the ubiquitous ‘Elizabethan Serenade’, which is justifiably the composer’s best known, if not necessarily his finest piece. Five recordings are shown for the equally popular ‘Sailing By’ which was used as the signature tune to the BBC late-night shipping forecast.  Five also for ‘The Watermill,’ remembered as a melody featured in the television production of The Secret Garden. If I recall correctly it was also used as an ‘interlude’ in the early days if TV.

The now deleted ASV two-CD set entitled Sailing By - The Music of RonaldBinge was a great treat for enthusiasts of British Light Music: fortunately it is available still as a download. These discs included many numbers that were not available anywhere else, including a rather surprising Symphony. The Guild Light Music series has showcased a number of less well-known numbers culled from the archives of record releases and library tapes.  The above mentioned favourites are all present and correct, but other titles include the adorable ‘Miss Melanie’, the enigmatic ‘Mischievous Mac’ and the tantalising ‘Flash Harry.’ Interestingly, a good number of these tunes are played by Mantovani and his Orchestra.

Cornet Carillon - The ‘All Star’ Concert Brass Band / Harry Mortimer OBE (GLCD 5117)

Dance of the Snowflakes - Lansdowne Light Orchestra (GLCD5203)

Elizabethan Serenade - Ron Goodwin & His Concert Orchestra (Stereo Recording) (GLCD5162)

Elizabethan Serenade - Mantovani & His Orchestra (GLCD5184)

Flash Harry - Band of the Grenadier Guards / Major F.J. Harris, MBE (GLCD5147)

Man in a Hurry - Lansdowne Light Orchestra [Actually Stuttgart Radio Orchestra / Kurt Rehfeld] (GLCD5146) 

Mischievous Mac- Crawford Light Orchestra (GLCD5142)

Miss Melanie - Lansdowne Light Orchestra [Actually Stuttgart Radio Orchestra / Kurt Rehfeld] (GLCD 5182)

Red Sombrero - Sidney Torch & his Orchestra (GLCD 5132)

Siesta - A Rumba Serenade - Mantovani & his Orchestra (GLCD 5113)

Snakes and Ladders - Mantovani & his Orchestra (GLCD 5181)

Tales of the Three Blind Mice - Sidney Torch & his Orchestra (GLCD 5154)

The Watermill -The Lansdowne Light Orchestra (Probably Stuttgart Radio Orchestra / Kurt Rehfeld) (GLCD 5183)

Whirlwind - Mantovani & his Orchestra (GLCD 5110)

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Ronald Binge: Faire Frou-Frou

Most enthusiasts of British Light music will know the name of Ronald Binge for his masterly Elizabethan Serenade with its gentle evocation of an era long past as well as portraying an optimistic future under our present Queen. Other listeners may have been enchanted by the coquettish Miss Melanie or have nodded off hearing ‘Sailing By’ just before the BBC Home Service/Radio 4 late-night Shipping Forecast. However, fewer will have encountered the subtle musical picture of the most famous venues of Parisian night-life explored in Faire Frou-Frou.

When I was last in Paris, I went for a walk past the Folies Bergère in the Rue Richer in the 9 arrondissement: unfortunately I did not venture into one of the famous cabaret shows. This traditional Parisian music-hall epitomises nearly a century and a half of exotic entertainment. Few people will be unaware of the legendary Can-Can dancers as pictured by (amongst many others) the artist Henri de Toulouse-Lautrec and the composer Jaques Offenbach.

I am not sure what Binge’s definition of ‘Frou Frou’ was. Perhaps it was the nick-name of a dancer at the Folies? Or maybe a character from a Belle-Époque novel or play.  The dictionary definition is more prosaic- ‘Fussy or showy dress or ornamentation’. This would be a good definition of the archetypical Can-Can dress.  Internet browsers will hardly be surprised to find the Faire Frou-Frou is now the trade name of a prestigious French lingerie manufacturer.

Ronald Binge has chosen to present a slightly more reserved picture of the Folies Bergèrethan Offenbach did. However, the rhythm of the Can-Can underlies the proceedings. The second section of this episodic work has an allusion to the French national anthem. However, after exploring a number of lively moods the main dance theme returns and brings the work to a subtle rather than boisterous close.

Faire Frou-Frou was published as a piano piece by Inter-Art Music Publishers in 1957. Band/orchestra parts are available from Josef Weinberger. The work (as far as I can tell) has only been released on the Marco Poloretrospective of Binge’s music. (8.223515)

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Ernest Tomlinson: 'Fairy Coach' & 'Cinderella Waltz'

A few weeks ago I posted about Ernest Tomlinson’s delightful ‘Little Serenade’ which is justly regarded as one of his most popular works.  The piece was derived from some incidental music written for a radio play, with the ‘book’ by Roy Plumley and libretto by Henrik Ege, called The Story of Cinderella. This was broadcast on Christmas Eve 1955. What I had not realised is that two more numbers from this production are also available on CD. What was more galling is that this disc is in my collection! These two other ‘survivals are the ‘Fairy Coach' and the ‘Cinderella Waltz’.  

The ‘Fairy Coach’ opens with the magical sound of bells which soon turns into a lively canter: light syncopation makes this all the more charming. Tomlinson is a great orchestrator, making considerable use of woodwind, romantic strings, and percussion. The beauty of a radio play is that the magical transformation is all done in the listeners head. It is so easy to transform a pumpkin into a coach, six white mice into horses, lizards into footmen and a rat into the coachman.  The music suggests a an opulent, sparkling, golden coach that is fairly bowling down the road to the Prince’s palace. The stars are in the sky and the frost glistens in the trees…

The ‘Cinderella Waltz’ is major accomplishment by any standards. This music is often reminiscent of Tchaikovsky’s ballet music and the waltz from his Eugene Onegin. One listener has detected an allusion to the ‘waltz’ from Khachaturian’s Masquerade, the suite of which had appeared in 1944.  Whatever the precedents, this is a beautifully wrought waltz that has all the characteristics demanded of that romantic moment when Prince Charming dances with Cinderella.

I wonder if any more extracts from this radio play will surface?  Whatever the case, the three pieces that are recorded are worthy of the composer, and create a magical impression on the listener.

The ‘Fairy Coach’ and the ‘Cinderella Waltz’, conducted by Ernest Tomlinson, can be heard on Marco Polo 8.223413. The Waltz is also available on ‘The Golden Age of Light Music: The 1950’s Volume 5 ‘Sunny Side Up’’ GLCD5142.                  

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Percy Whitlock: The Ballet of the Wood Creatures

The Ballet of the Wood Creatures is a deliciously scored miniature wholly in the tradition of British light music. Straight away on the opening one is reminded of Tchaikovsky’s ballet music, then somehow it slips effortlessly into a delicious essay of all that is best in miniature writing. The scoring is delightful - with lovely gentle cymbal clashes creating the emphasis in a typically 'light' tune. The woodwinds are playing little figurations like falling leaves or perhaps chirruping insects. Every now and again there is an image of Mendelssohn's Midsummer Night's Dream. And I suppose this is what it is all about. The wood creatures are not specified, however it is quite manifestly an adult looking at the 'magic' woods with the wistful eye of a man slowly approaching middle age. I should not wonder that these 'creatures' speak. I could imagine this music being used to accompany a 'dance' based on Wind in the Willows. Another work that springs to mind, not only in this piece but in much of Percy Whitlock's other orchestral music is the incidental music to ‘'Where the Rainbow Ends' by Roger Quilter. It has the same pensive qualities. I mentioned Mendelssohn, and it is actually quite strange that Whitlock chooses a 'motto' from the Hebridean Overture. The piece ends rather wistfully. Perhaps the creatures have gone to sleep?

The piece was reworked shortly before the outbreak of the Second World War in 1939. It belies the imminent crisis in its innocent portrayal of a magic wood. It is just too short, and one is constantly wishing for another movement. What a pity that Whitlock did not compose a full ballet. It would have been a treasure.

Percy Whitlock’s The Ballet of the Wood Creatures is available on Marco Polo 8.225162

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Sir Charles Villiers Stanford The Complete Organ Works Vol. 1

Charles Villiers STANFORD (1852-1924)

Fantasia and Toccata, Op.57 (1894) Sonata No.1 in F, Op. 149 (1917) Six Preludes, Op.88:  Minuet; Chaconne; Prelude (in the form of a Toccata); Prelude on the Easter Hymn; Pastorale; Prelude on Tallis's Canon, Op. 88 (c.1903) Sonata No. 2, Op. 151 (1917)

Daniel Cook (The Organ of Salisbury Cathedral)

Priory PRCD1095

The organ works of Charles Villiers Stanford are not a part of his output with which I am familiar. Over the years I have explored the symphonies, concertos, songs, liturgical and chamber music, however apart from a few preludes and postludes heard in church and cathedral I have not discovered the works presented on this CD.

Stanford was involved with the ‘King of Instruments’ throughout most of his career, and was himself an organist for many years. If we assume that his composing career was from 1877 until his death in 1924, it is a fact that most of his organ works were written in the second half of this period. 

The opening ‘Fantasia and Toccata in D minor’, Op.57 is the earliest organ work in Stanford’s catalogue: it was penned in July 1894, but was not published until 1902.  This piece is very much in the ‘classical style’ with allusions to Bach’s ‘Fantasia and Fugue in G minor’ BWV 542 and the ‘Dorian’ Toccata and Fugue in D minor, BWV 538. However, this is not a parody of Bach: Stanford has created a romantic mood derived from Mendelssohn and Brahms. The Fantasia has some powerful music, but there is also a delicious middle section that exploits the softer string tones of the organ.  The Toccata, which is introduced by pedal solo, becomes a veritable ‘warhorse’ as the music moves dynamically toward its massive full-organ close. This is a substantial piece that displays the organ at Salisbury to an impressive degree.

The Six Preludes were begun in 1903 and were published over the next couple of years. According to Jeremy Dibble these were ‘conceived as six essays in distinctive style-forms which could be performed separately but could also be played as a cohesive set’.

The first is ‘in [the] Form of a Minuet’. This is a quiet, reserved piece that is really a pastoral or an idyll:  the ‘trio’ section is a little livelier with delightful rippling figurations. The second prelude is ‘in [the] Form of a Chaconne. There are ten variations with the ‘ground bass’ presented variously by each hand and the pedals.  Prelude No.3 is a short Toccata in ternary form: the boisterous outer parts are complemented by a ‘chorale like’ trio.  ‘On the Easter Hymn’ is a fine chorale-prelude on the well loved hymn ‘Jesus Christ is Risen Today.’ There are nods to Wagner’s Meistersingersin the progress of this piece. The fifth Prelude is ‘In [the] form of a Pastorale.’ This is not some English music-revival type of confection, but owes its inspiration to Handel and possibly the ‘Pastoral Symphony’ from Messiah. It is a beautiful, moving piece that is full of the magic and reverence of Christmas and the Birth of Jesus in a manger. It is surely one of the most delightful miniatures from Stanford’s pen. The final Prelude is ‘a tranquil meditation on Tallis’s Canon for the second evening hymn ‘Glory to Thee, My God, this night.’ This is ‘night music’ that is ideal for Evensong.

Each one of these ‘Six Preludes’ reveals Stanford at his best. These should be listened to at one sitting, as they are largely complementary. However any of them can be used individually for Divine Worship.

Much could, and probably should, be written about Charles Villiers Stanford’s Five Organ Sonatas. These pieces, which were written between 1917 and 1921, are little-known to organ music enthusiasts. So far, I have had the opportunity of listening to the first two which are presented on this CD: I look forward to getting to grips with the following three. My overall impression is of highly competent and characteristic writing for the instrument. This is presented in what was probably at the time of composing a slightly outdated musical language. Yet this does not really matter – it is the quality and the content that matter: not the stylistic provenance.  I am surprised that these works are not in the general repertoire as they are often as impressive as those infinitely better-known symphonies written by the Frenchmen Vierne and Widor.

Sonata No.1 in F major, Op.149 was completed in May 1917 and was dedicated to the composer’s old friend Alan Gray. Like all of the organ sonatas, this is in three movements. The liner notes suggest that this work looks back to the Basil Harwood’s C sharp minor Sonata which was in turn was influenced by Joseph Rheinberger.

The opening ‘allegro’ is in sonata form with a good contrast between the two principal subjects. The second movement opens with some delightful filigree passages. Later, the mood changes and becomes more aggressive. After a climax, the quieter music reprises. This movement is signed as ‘tempo di menuetto’ yet there are more serious things at stake here. The finale is effectively an ‘introduction and fugue’. The liner notes point out that there is a reference to the opening movement in the last pages of this Sonata.

The Second Sonata was completed in August of 1917 and was dedicated ‘to Charles Marie Widor and the great country to which he belongs.’  This is a ‘war’ sonata in its content and substance. Charles Porte has noted that it was inspired by the heroism of France in the ‘terrible and costly struggle’ against the invading German army.  The opening movement is subtitled ‘Rheims’ after the cathedral that was badly damaged in an artillery bombardment. This is music that seems to embrace both patriotism and solemnity. The second movement is a funeral march of considerable depth and thoughtfulness. The finale, ‘Verdun, 1916’ is largely heroic without being ‘triumphant’ or ‘jingoistic.’ This is immense, powerful, almost frightening music that is at one and the same time inspiring and deeply moving. Stanford orchestrated the last two movements which were later performed at an Albert Hall Sunday afternoon concert during 1918.

Daniel Cook, until recently, was Organist and Master of the Choristers at St David’s Cathedral. He had a considerable involvement in the Cathedral Festival.  In 2013 Daniel Cook was elected as an Associate of the Royal Academy of Music. In September he took up the post of Sub-organist at Westminster Abbey. He is currently artistic director of Mousai Singers. Cook has recorded a number of CDs for Priory Records, including the complete works (all on-going) of Herbert Brewer, Herbert Sumsion and the present composer. He recently released a fine recording of the organ at St Mary’s, Cullercoats in Northumberland.  

The sound quality of this present CD is impressive. It passes my ‘recorded organ music test’ of giving the impression of being in the nave of the cathedral whilst actually sitting in my chair in the music room. The liner notes are by Professor Jeremy Dibble who has contributed so much to the scholarship of Victorian and Edwardian composers. It is a considerable essay that examines each work in detail. The CD booklet includes the all-important specification for the organ at Salisbury Cathedral. This instrument was installed in 1877 by ‘Father’ Henry Willis and in spite of a series of rebuilds, cleans and restorations, this organ sounds exactly like the day it was built.  John Stainer believed that this was ‘even finer than the organ Father Willis had designed for St Paul’s in 1872.  The organ builder himself considered that it was his finest creation.

This is a fascinating first instalment of what promises to be a major contribution to the recorded repertoire of Charles Villiers Stanford. I guess that there will be a further two or three CDs released before this collection is complete. I, for one, cannot wait for Volume 2.

With thanks to MusicWeb International where this review first appeared.

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