This 2-CD set gets off to a great start with Lennox Berkeley’s Sonatina op. 13 dating from 1939. Typical of his style, it is a successful fusion of baroque and neo-classical sensibilities as well as a touch of Gallic charm. The three movements entertain with lovely melodies, and alluring harmonies.
Sheffield-born Wilfred Heaton is
best recalled for his contribution to the brass band repertoire, although he
did produce works for many other genres. The Little Suite for recorder
and piano was premiered in 2001 at the Royal Northern College of Music. The Suite
presents five “contrasting cameos” which reflect the “dance-based instrumental
suites of Bach and Bartók.” Moods encompassed include a vibrant Courante,
a lugubrious Cantabile and a humorous Bourée. These are bookended
by a brilliant Toccata and a will o’ the wisp Gigue.
The booklet states that Peter
Pope’s Sonatina No.2 was composed in Croydon during April and May 1980. There
is no information concerning any early performances. The piece is gentle and
thoughtful throughout its three complementary movements. Gary Higginson, in his
review of this CD, here,
reminds the reader that Pope was a pupil of John Ireland, and that his
influence can be seen in the sad slow movement.
The undated The Summer Triangle by David Butler was inspired by three stars seen in the night sky, Vega, Altair, and Deneb. And is The Eagle (mentioned in the notes) a fourth? To be sure, the CD cover is supposed to illustrate this phenomenon, but I am not sure I can quite see it. Add to this, Butler’s exploration at night of the beaches around Lowestoft and witnessing a rising moon, has inspired this attractive and absorbing composition. It does not need the astronomical programme to enjoy.
Igor Stravinsky’s Lullaby
(1960) for two recorders is an arrangement of Ann’s Lullaby from The
Rake’s Progress (1951). It involved “an ingenious reduction of both song
and chorus throughout to just two parts.” All I will say it would not send
anyone off to sleep – just too piercing.
The brief Sonatina (1978), by
John Locke was dedicated to the present soloist, John Turner. It comes as a gentle
relief after the astringency of the Stravinsky. Even so, this is no pastoral
ramble, but an exploration of some complex chromatic phrases. The central Adagio
is particularly redolent. The final movement is played on the descant recorder,
giving a brighter, bouncy conclusion.
The final work on CD1 is
Thomas Pitfield’s Dancery (1974). This suite was inspired by Tielman
Susato’s collection of dance tunes made popular by early music expert David
Munrow. Pitfield has formulated five contrasting melodies which, although short,
are always musically significant. My favourite is the smoky Pavan in Three
Notes (Hommage à Poulenc). Equally attractive is the Finzian second Pavan.
Altogether a delightful work that ought to be in the repertoire of all
recorderists.
The second CD is a pot-pourri
of miniatures. John Turner’s A Sad Pavane was written in 2022 as part of
a collection designed for a video supporting the Ukrainian people. It is sad in
mood, but ultimately positive. The second of Two Pieces is a rumbustious
little Hopscotch (2012). Curiously, in Scotland we call this game
‘peever.’
The liner notes explain that
John McCabe’s Domestic Life is “an arrangement of tunes from an
‘entertainment,’ This Town’s a Corporation Full of Crooked Streets, for
voice and ensemble,” dating from 1969. It is interesting to note that the texts
(not provided here) of the original were derived from poems authored by the Mersey
Sound poets, Adrian Henri, Roger McGough, and Brian Patten and, also, included
children’s rhymes. McCabe’s contribution is a fascinating little selection of
tunes, all played without a break. McCabe himself referred to it as a “pièce
d’occasion.” It would make a splendid encore at any recorder and piano recital.
John McCabe’s Sam’s Tune
was originally penned in 1973 for a Granada TV production. It is untypical of his
style, but quite catchy.
The liner notes explain that
Christopher Ball “was a musical polymath, being a clarinettist, conductor,
composer, arranger, publisher, recorder virtuoso, teacher and photographer.”
His Two Pieces for recorder and piano were originally intended to be
part of a sonatina, which never materialised. A Cheerful Little Piece,
with a few neat twists and turns, does what it says on the tin, whilst the Homage
to Dvořák is slower, thoughtful and has hints of Grandmother’s Songs
and Hovis.
For any railway enthusiast,
memories of Stockport Edgeley with it signal boxes, large station, and
impressive viaduct bring back happy memories. Peter Hope has evoked The
Edgeley Tram (2019) in his short contribution. It presents musical
onomatopoeia of a journey from Mersey Square in the centre of town up the hill
to the suburb of Edgeley. Sadly, the network of trams closed in 1951.
Fortunately, Mersey Square has remained very much the same, despite town
council planning. David Jepson also recalls the locality with his bewitching Edgeley
Fold (2020). It is a “meditation on an excerpt from a poem by the native
poet Anthony Warren Bardsley…” It balances wistful reflection with some
“memories of a darker hue” created by wartime memories. A lovely little creation.
I am not sure why Alexander
Gretchaninov’s Concertino, op. 171 (1944) has been included in this
collection of largely British music. It is a “short and happy” number for two
recorders and piano which is fun, but hardly essential.
American composer William
Bergsma’s Pastorale and Scherzo (1943) brings a touch of variety to the
prevailing instrumentation of this CD set. He has devised them for recorder and
two violas. The Pastorale is a little too profound, whilst the Scherzo
lets zip. A good encore.
Conversation Piece
(1996) for two recorders by Dorothy Pilling is a pleasant little exercise that
is full of summery delight. My only criticism is that it is too short!
David Ellis’s Mount Street
Blues (2015) is in “memory of his friend from childhood, John McCabe.”
Mount Street in Liverpool is the location of the Liverpool Institute where both
men studied. There is only a hint of the “blues” about it, but it is an
exquisite tribute.
The second contribution from
Ellis is his Fipple-Baguette: Three Encores for Solo Recorder op.
76 for solo recorder. (2004). The titles are Round Dance, Sarabande
with Doubles and End-Piece. These exceedingly difficult miniatures
were dedicated to John Turner. I do not know what the relevance of “Baguette”
is, but “Fipple” is the mouthpiece of a ducted flute, i.e. a recorder.
The final number in this
recital is Thomas Pitfield’s A Little Caribbean. This undated work was
originally scored for clarinet and piano. It is a charming miniature that
presents a memorable melody and clever rhythmic patterning.
The helpful liner notes have
been written/assembled by John Turner. They are clear and legible. Not all the
dates of composition have been given, which is a pity. The playing on this disc
is outstanding throughout. Most of the burden falls on John Turner, recorder,
and Stephen Bettaney, piano, but additional resources are provided by the
recorderist Laura Robinson, and the violists Catherine Yates and Alex Mitchell.
Brief biographies are included for all performers. The cover is an attractive
photo of (for me) an unknown series of constellations.
All the music on this new CD is
of interest. Clearly individuals will make their own choice as to what are
their favourites and what they can live without. What is clear is that this
latest production overseen by the eminent recorderist John Turner reveals what
a wonderful treasure chest exists of music that is found in the repertoire’s Highways
and Byways. Long may these explorations continue.
Track Listing:
CD1
Lennox Berkeley (1903-1989) Sonatina op. 13 (1939)
Wilfred Heaton (1918-2000) Little Suite (f.p.2001)
Peter Pope (1917-1991) Sonatina No. 2 (1980)
David Butler (b. 1953) The Summer Triangle Igor Stravinsky (1882-1971)
Lullaby (arr. 1960)
John Locke (1907-1980) Sonatina (1978)
Thomas Pitfield (1903-1999) Dancery (1974)
CD2 John Turner (b. 1943) Two Pieces (2022 and 2012)
John McCabe (1939-2015) Domestic Life (1969/2000)
Sam’s Tune (1973)
Christopher Ball (1936-2022) Two Pieces
Peter Hope (b. 1930) The Edgeley Tram (2019)
David Jepson (1941-2021) Edgeley Fold (c.2020)
Alexander Gretchaninov (1864-1956) Concertino op. 171(1941)
William Bergsma (1921-1994) Pastorale and Scherzo (1943)
Dorothy Pilling (1910-1998) Conversation Piece (1996)
David Ellis (1933-2023) Mount Street Blues (2015)
Fipple-Baguette: Three Encores for Solo Recorder, op. 76 (2004)
Thomas Pitfield A Little CaribbeanJohn Turner (recorder), Stephen Bettaney (piano), Laura Robinson (recorder), Catherine Yates (viola), Alex Mitchell (viola)
rec. 22-23 May 2023, St. Elizabeth’s Church, Ashley, UK; 11 October 2023 St Paul’s Church, Heaton Moor, Stockport (Bergsma); 16 September 2008, St. Thomas’s Church, Stockport (Fipple-Baguette, Ellis)
Divine Art DDX21245