This retrospective of Alan
Rawsthorne’s music is a mixture of previously released pieces with three newly-recorded
works. The Oboe Quartet, the Studies on a Theme by Bach for string trio and the
Concerto for oboe and string orchestra were issued on the ASC label in 2001.
(ASC CS CD46). The other works were recorded earlier this year (2016) in
various locations for this CD.
The first of the two concertos presented on this CD is
that for clarinet and string orchestra, dating from 1936. This work was first
recorded on the Hyperion label in 1981 by Thea King and the Northwest Chamber Orchestra of Seattle conducted by Alun Francis.
The concerto is written in four movements.
It is not long, yet it encompasses a wide range of emotion, mood and rhetoric. The
clarinet is more of an ‘obligato’ part with the orchestra being of almost equal
importance. The sound world is gently dissonant with moments of lyrical magic.
The slow movement, an ‘aria: adagio’, is
profound and intense in its lugubrious exposition. On the other hand, the
opening Prelude is ‘wistful’ and ‘engaging.’ The second movement is a breezy
‘capriccio’ that is interrupted by unexpected silences. The finale is described
as an ‘invention’. It is the ‘lightest’ movement in the entire work. All in all,
the Clarinet Concerto is a well-balanced piece that displays the skill and
technique of composer and soloist to great effect. As a bonus, the revised ending
of this work is presented.
The concerto was composed for Frederick
‘Jack’ Thurston, the husband of Thea King. The premiere was at the Mercury
Theatre on 22 February 1937.
The Quartet for oboe, violin,
viola and cello (No.1) was written in 1935: it is the earliest piece on this
CD. The work was first performed on 1 October of that year at the London
Contemporary Music Centre, Cowdray Hall. The musicians were Helen Gaskell, Jean
Pougnot, William Primrose and Bernard Richards.
John McCabe notes that an
‘interesting feature of this Quartet is that each movement is longer than the
preceding one.’ The composer’s use of contrapuntal devices – fugue and canon - display
considerable confidence. However, this technical display is balanced by moments
of lyrical repose in a work that is often acerbic in mood.
The Times (2 October 1935) reviewer of this recital was impressed:
he noted the fine fugal movement with which the work concludes. His main
comment was that the oboe was used ‘as a thicker thread in the texture’ rather
than as a ‘quasi-solo instrument.’
‘Studies on a theme by Bach’ for
string trio was composed in 1936. The work is based on the first four notes of
fugue of Prelude and Fugue in C sharp minor from the Well-Tempered Clavier, Book 1, No 4. John McCabe has pointed out
that this motive ‘fits perfectly with Rawsthorne’s characteristic use of
thematic cells from which harmony and melody can be derived.’ The liner notes suggest that the title
‘studies’ could give an impression that the piece is purely an academic
exercise. This is partly the case. The composer
was manifestly developing his skills at writing counterpoint in a modernistic,
but always poetic, style. On the other hand, there is nothing ‘dry as dust’
about this music. It immediately communicates with the listener, revealing a
reflective mood. This short work is in three parts, a thoughtful opening
‘adagio’ followed by a fugue ‘allegro moderato’ before concluding with a
dynamic ‘prestissimo.’ This is the first
time I have heard this work, and found it both imaginative and moving.
Brother James’s Air for cello and piano is a lovely straightforward
piece, that has no pretensions at portraying a modern idiom. It was composed
around 1941. Most listeners will
associate this tune with Harold Darke’s lovely arrangement for organ. The
original melody was composed by the poet and mystic James Leith Macbeth Bain
(c.1840-1925) and is most often heard with the words ‘The Lord is my Shepherd.’
I first heard Alan Rawsthorne’s Cello Sonata in C
major on the an old Pye Record (GSGC
7060) with George Isaac (cello) and Eric Harrison (piano). It was coupled with
the great Concerto for String Orchestra (1949) and the Piano Quintet (1968). Since
that time, it has been issued on the Naxos, Chandos and ASV labels.
The sonata was composed
in 1948 at the same time as Rawsthorne’s Clarinet Concerto and the film score
for Sarabande for Dead Lovers. It was
dedicated to Anthony Pini and Wilfred Parry who gave the premiere on 21 January
1949.
The work is in three
movements of almost equal length: conventionally it has been analysed as
presenting seven distinct sections. Sebastian Forbes has defined this as
‘slow-fast’ 1st movement, slow-fast-slow, 2nd movement
and finally ‘fast-slow’ for the concluding ‘allegro molto.’
Paul Hamburger (Music Survey, Spring 1950) wittily
remarked that the opening six-bar phrase which consisted of two three-bar
phrases ‘in which every note of the whole sonata is contained like the chicken
in the egg.’
The key to appreciating
this work is to enjoy the composer’s ability to balance ‘variety’ and
‘identity.’ In other words, he can make a small amount of material interesting
and satisfying. The liner notes define the mood of this sonata: ‘this is a
short, taut work riven with dark emotions, anger, melancholy, passion and,
finally, resignation, with occasional glimpses of exceptional lyrical
beauty.’ It has been well-described as
‘Rawsthorne’s Miniature Masterpiece.’ It is thoughtfully played here.
John Turner writes that A Most Eloquent Music was commissioned
by the Royal Shakespeare Company in 1961 for that year’s production of Hamlet. It was first heard on 11 April
of that year. This brief work is meant
to be heard on stage: it is part of a larger selection of incidental music
written for the play. The movement heard here supports Act III Scene 2,
‘Re-enter players with recorders.’ Two recorders are supported by a lute. It is an attractive pastiche of ‘early’ music
that says more about Rawsthorne’s style than that of musicians in Shakespeare’s
day.
The final work on this CD is the
Concerto for oboe and string orchestra. This was composed for the Cheltenham
Festival in 1947 and was premiered by its dedicatee Evelyn Rothwell (Lady
Barbirolli) and the Hallé Orchestra conducted by the composer. The work is
written in three balanced movements. The liner notes state that Rawsthorne turned
to French Overture form for the opening movement, with its slow ‘maestoso
appassionato’ followed by a lively-ish middle section which is an elaboration
of the introduction. Finally, the opening is revisited, this time it is even
‘more ruminative and plaintive.’ The second movement has an unusual title:
‘allegretto con morbidezza’ which appears a contradiction in terms until one
realises that it is not played ‘morbidly’ but with ‘tenderness’ and ‘delicacy.’
Although the composer uses a waltz as part of this section, it continues the
mood of introspection advanced in the first movement.
The final movement ‘vivace’ is
characterised by wit and jocundity, derived from its prevailing
‘jig-cum-tarantella’ although the introspective mood is never quite dispelled.
This is my favourite work on this
CD. It is an adeptly scored piece that exploits the colours of the oboe despite
the generally restrained temper of the music. The interest of this work never
lapses. It is beautifully played by Jill Crowther.
The excellent liner notes are
derived from the original ASC CD with additional material by John Turner,
Andrew Mayes, and Linda Merrick. I was not impressed with the cover design -to
me it seemed less than eye-catching in its impact. The sound quality is outstanding for all
these works – old and new.
The Studies and the Oboe Quartet
are not currently available anywhere else: the ASC disc is deleted and
seemingly not available as MP3. The Clarinet and Oboe Concertos have been
issued in alternative versions by Hyperion and Naxos respectively. It is not a
question of either/or. Vaughan Williams’s impressive Oboe Concerto presently numbers
some 14 versions and Gerald Finzi’s popular Clarinet Concerto has more than a
dozen recordings in the Arkiv catalogue. It seems little to ask of enthusiasts
of Alan Rawsthorne to invest in the only two available versions of his important
Oboe and Clarinet concerti. All of them
are remarkable performances.
As noted above the Cello Sonata
has been released in several versions. Brother
James’ Air and A Most Eloquent Music
are premiere recordings.
This is an essential recording
for all enthusiasts of Alan Rawsthorne’s music. It may well concentrate on
music featuring woodwind, but it is still a splendid retrospective and vital
portrait of the composer’s music.
Track Listing:
Alan RAWSTHORNE (1905-71)
Concerto for clarinet and string orchestra (1936)
Quartet (No.1) for oboe and string trio (1935)
Studies on a theme by Bach (1936)
Brother James Air for cello and piano (1941)
Sonata for cello and piano (1948)
A Most Eloquent Music (1961)
Concerto for oboe and string orchestra (1947)
Linda Merrick (clarinet) Manchester Sinfonia/ Richard
Howarth (Clarinet Concerto)
Sylvia Harper (oboe) Jake Rea (violin) David Aspin (viola)
Joseph Spooner (cello) (Quartet)
Jake Rea (violin) David Aspin (viola) Joseph Spooner (cello)
(Studies)
Joseph Spooner (cello) David Owen Norris (piano) (Brother
James’ Air, Cello Sonata)
John Turner, Laura Robinson (recorders) Roger Child (lute)
(A Most Eloquent Music)
Jill Crowther (oboe) The English Northern Philharmonia/Alan
Cuckston (Oboe Concerto)
PRIMA FACIE
PRCD053
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