I was making some edits to this short
essay published back in 2009, and I discovered that I had totally messed up the
text and formatting. The only thing to do was delete the post and start again.
I give no apology for re-presenting these thoughts here – with a few corrections
and edits.
I was introduced to Montague Phillips’s
music through his songs – in particular, Through a Lattice Window and Sea Echoes. I remember discovering these vocal scores in a remarkable
second-hand bookshop in Llandudno during the early 1970s. Since those far-off
days I have kept an eye open for more of Phillips’ music, especially those works
written for piano. Unfortunately, they seem to be a little bit scarce in
libraries of bookshops. I have been
lucky enough to peruse the Three
Country Pictures, his Village
Sketches and the Dance
Revels. Now the beauty of these works is that they are playable by the so-called
‘gifted amateur.’ They are not great works of art but are attractive pieces
that are skilfully written and lie well under the hands. The ‘suite’ genre was ubiquitous
in the first half of the 20th century. We need only think of Felix Swinstead,
Thomas Dunhill and of course, that master of the form, Eric Coates.
In May Time is a good example of this genre. It was originally
composed for the piano and was orchestrated by the composer in the mid
nineteen-twenties. Lewis Foreman (liner notes Dutton CDLX7158) points out that
the original piano score was written for very young piano students – and I am
sure he is correct. However, the orchestral transcription has a subtlety about
it that belies this innocent genesis. There are four attractive movements
entitled, On a May Morning, Daffodil Time, Spring Blossoms and May-time
Revels. The first performance appears to have been given by Dan Godfrey and
the Bournemouth Municipal Orchestra in that town on 4th May 1924. An
appropriate date indeed!
One criticism of this suite is
that the four movements suffer from sameness. There is not an obvious slow
movement. However, the starting point of this work appears to be the dances
from the composer’s opera, The Rebel
Maid. Perhaps there is also a nod or two in the direction of Sir Arthur
Sullivan and Edward German’s Merrie England.
The work opens with an attractive
dance like movement, ‘On a May Morning’ This contrasts the strings and woodwind
in the principal tune. The middle-section is completely different, with will o’
the wisp woodwind figurations that contrast with a romantic tune on the
violins. Soon the opening material returns with great gusto. There are a few
allusions to the big tune before the movement closes with a short coda.
‘Daffodil Time’ is the ‘de-facto’
slow movement. ‘Graceful’ would be more appropriate. Although this movement is
a bit more reflective than the other three, it is still hard to suppress images
of the happiness and the hope of spring.
‘Spring Blossoms’ is the
cutest movement of this suite. There are pretty tunes and counter melodies a-plenty.
The middle section is an attractive theme which is played repeatedly – always
supported by woodwind fluttering above the melody. Perhaps the first
butterflies are on the wing? ‘Spring Blossoms’ ends quietly.
‘May-Time Revels’ owes most
to The Rebel Maid. It is a good-going
dance from start to finish – complete with percussion and fine brass playing.
There is a short reflective middle section that dances its way to the
restatement of opening the ‘Allegro con spirito’ material.
There is no need to read any kind
of programme into any of these pieces – except to recall that Montague Phillips
lived in Esher, which in those days were closer to the countryside than perhaps
is the case in 2019. The composer always responded to the rural environment and
this work is no exception. It is a charming portrayal of the mood of an English
spring day.
Montague Phillips’s In May Time can be heard on Dutton
CDLX7158.
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