This is the first volume of a
three-part survey of the entire corpus of piano music written by the Scottish
composer and academic Sir Alexander Mackenzie. It presents four attractive and interesting
works, which are entertaining, always enjoyable, and well crafted.
Biographical details of the composer
are widely available in reference books and websites. Modesty nearly, but not
quite, prevents me from linking to a short introduction
that I wrote last year. For the purpose of this review three things need to be
recalled. Firstly, Alexander Mackenzie, along with Parry and Stanford is often
seen as one of the pillars of the English Musical Renaissance, which began in
the late 1800s. Secondly, despite his Scottish birth, he does not often indulge
in out and out ‘tartanry’. There are naturally several exceptions to this,
including the Pibroch Suite for violin and orchestra and the Scottish
Piano Concerto. And there are the Burns Rhapsodies for orchestra, but
even here his use of Scoticisms is typically subtle rather than overt. And
finally, there is nothing avant-garde here. The great romantic composers of
Wagner, Liszt and Schumann often infuse this music. In his piano works, Chopin
is sometimes a model and every so often the listener will hear an echo (or is
it anticipation) of Edward Elgar. Mackenzie is typically a European composer
rather than a Scottish, or even British, national one.
Christopher Howell, in the liner
notes, explains that the opening Six Compositions, op.20 (1879) were
dedicated to a certain Miss May Ross Gillespie, whom, he imagines, was an
accomplished amateur pianist. That said, these pieces are no cinch to play,
despite being in the much derided ‘salon music’ genre. The opening ‘Hymnus’ has
nothing fusty about it. It is a little song of praise that is wholly uplifting.
The ‘Ritornello’ does as the title suggests and repeats the refrain in a pleasingly
coquettish manner. The ‘Reminiscence’ is an example of Mackenzie’s understated
use of a Celtic idiom. This is the most thoughtful movement in this these Compositions.
The ‘Chasse aux Papillons Étude’
is a musically interesting little study that is hardly for beginners. I loved
the ‘Reverie’ which looks forward to the composer’s ever popular Benedictus,
originally written for violin and piano and subsequently orchestrated. The
final ‘Dance’ is a vibrant little rondo. In one of the episodes Mackenzie has
introduced a sly nod to his heritage: a few Scotch snaps and just the hint of a
bagpipe drone. This is an altogether captivating set of pieces which gets this
survey of Mackenzie’s piano music off to a great start.
If any work on this CD deserves a
place in the repertoire of pianists, it is the ‘Trois Morceaux’ op.15 composed
in 1878. Chopin is the obvious influence over the first two numbers. The ‘Valse
Serieuse’ balances typically melancholic opening and closing sections with
something a little more acerbic in the middle ‘eight’. This is followed by the heartbreakingly
beautiful ‘Nocturne’ which is my favourite number on this CD. The ‘soaring’
theme is partnered with an almost unremitting triplet accompaniment. The
cognoscenti would state that this music is wholly derivative: and they would be
correct. But who cares? Mackenzie has created a perfect nocturnal mood that
inspires and moves the listener. It is a little bit of heaven. If Classic FM
gave it a chance it could become a national favourite. Eulogising over!
Robert Schumann is the
inspiration for the ‘Ballade’. There is no indication as to what the underlying
‘story’ may have been. This three-part work opens with a typically Schumann-esque
‘moto perpetuo’ written in a rapid 6/8-time signature. The middle section is in
complete contrast. Here Mackenzie seems once again to recall his Scottish
background. For a moment we are conscious of the hills of heather and the tales
of the Highlands. Then the ‘toccata’ returns to complete what is clearly a
ballad of both joy and sadness.
Jottings (in two books)
were composed for the educational market in 1916. Howell explains that they
were dedicated to ‘his [Mackenzie’s] friend Samuel Aitken’, who had been ‘a
vigorous if sometimes abrasive secretary to the Associated Board of the Royal
Schools of Music in the later 1890s’. The titles of these six Jottings owe
much to the prevailing pastoralism: ‘On the Village Green’, ‘Gossiping’, ‘Drums
and Trumpets’, ‘Humours,’ ‘A Game in the Garden’ and the final ‘“Heave Ho!” - Sea
Song’. My favourite number is this modal finale. Like a lot of ‘teaching
pieces’ Mackenzie is not in the least patronising towards the tyro. He seems to
have put as much care into these delightful miniatures as in his major works.
They are fun and present portraits of a world no longer relevant to ‘the wiser
youngsters of today.’ (Robert Louis Stevenson). I hope that one day the score
of this little collection is made available for the less-young pianist like
myself! I would enjoy playing them.
The most substantial essay on
this disc is the English Air with Variations, op.81. This was composed
in 1915. The theme has not been identified. It is possible that the composer
has made a ‘pastiche’ that ticks all the boxes for an ‘English Air’. This is a
major set of variations, that explores a wide range of pianistic formulae. The
most remarkable is the fourth. Here Mackenzie has created a passage of ‘pungent
dissonances’ that seem quite out of character for a high-Victorian composer. Yet
somehow, they feel right at this point in the work’s progress. Listeners will
note the almost Elgarian sonorities of the penultimate ‘lento.’ The finale is massive
and musically complex. This is an incredibly enjoyable and satisfying set of
variations for piano that has seldom been excelled by any British composer in
any age. It deserves a secure niche in the repertoire of all pianists who love
the music of our country.
The liner notes are always extremely
important in any CD exploring music that has been largely unheard for several
generations. Christopher Howell has provided a model example. There are some
succinct biographical details which present the personality of the composer as
well as some interesting details about his personal circumstances and his
wide-ranging music achievement. The introduction to the piano works is
essential reading which allows the listener to develop a paradigm for
understanding this music. And finally, there are short but concise discussions
about each work. This is extremely useful, as there is virtually nothing else
in critical literature that features this information. I concede that there may
well be several contemporary reviews hiding away in archives, but as of now,
there is no essay or dissertation entitled The Piano Music of Alexander
Mackenzie. Finally, there are the usual notes about the performer. My only (minor)
concern is that the cover is just a wee bit drab
It should be noted that Murray
McLachan recorded a small selection of Mackenzie’s piano music on The
Scottish Romantics (DivineArt 2-5003). It was reviewed here
and here.
I understand that this CD has been deleted.
I was impressed by the sound
quality of this CD which emphasises the excellent tone of the piano. Howell has
given all four works (and their several parts) an ideal recital. Certainly,
following the sheet music (where possible) revealed an accurate and committed account.
I look forward to reviewing the
remaining two volumes in this series of Mackenzie’s piano music. Based on this
present CD, I imagine that the ‘journey of exploration’ of this little kent
repertoire will be equally enjoyable and satisfactory.
Track Listing:
Alexander Campbell MACKENZIE (1847-1935)
Six Compositions, op.20 (1879
Trois Morceaux, op.15 (1877)
Jottings – 6 Cheerful Little Pieces (1916) Books 1 and 2 (1916)
English Air with Variations, op.81 (1915)
Christopher Howell (piano)
rec. Studios of Griffa & Figli s.r.l., Milan, Italy, 11
February 2016, 14 February 2017
Sheva Collection SH221
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