Recalling John Addison’s Concerto for trumpet, strings, and percussion (1949) Part 2

The Premiere

John Addison’s Concerto for trumpet and strings was premiered at the Orangery, Hampton Court, on Sunday 16 July 1950. The New London Orchestra was conducted by Alec Sherman with the trumpet soloist David Mason. Another concerted work at this concert was Carl Maria von Weber’s Bassoon Concerto in F major (1811, rev. 1822) with soloist Cecil James. Wolfgang Amadeus Mozart’s Symphony No.40 in G minor (K.550) (1788) was the ‘main’ event of the evening.

The Daily Telegraph (17 July 1950) picked up on the fact that Addison’s work was one of very few trumpet concertos written by an Englishman since the 18^th century.  The reviewer thinks that the trumpet is one of the ‘noblest’ of instruments, but also one of the ‘most intractable.’ Unfortunately, R.C. (Richard Capell) felt that despite ‘the young composer’s interesting inventiveness and David Mason’s brilliant execution of the solo, [this] fundamental difficulty was not overcome.’ One other criticism was that ‘Mr Addison could not help lapsing into the toy-trumpet effects of [Stravinsky’s] Petrushka.’ As an aside, Cecil James ‘astonished the audience with his mastery of the bassoon.’

The unsigned review in The Times (18 July 1950) was enthusiastic about the ‘[introduction] of a new concerto for trumpet, strings and optional percussion [composed] by…a young English composer hailing from Prince Consort Road’ (The Royal College of Music). The critic felt that ‘no member of the audience would complain of the unapproachability of contemporary music after hearing this buoyant work, with its incisive themes, its piquant rhythms, its clean textures, and its logical and almost too transparent form.’  Looking in more detail towards the music’s structure, the critic notes that ‘the trumpet is rarely idle, and the scoring for percussion (without which the concerto would be a good deal less entertaining) and strings show many felicitous touches.’ This was especially evident in the slow movement, ‘adagio misterioso.’ Overall, the impression was that ‘there is room in the world for music of this unpretentious and not too earnest or disturbingly original kind…’

The most extensive review of the Trumpet Concerto’s premiere was written by Malcolm Rayment in Musical Express (21 July 1950). He begins by pointing out that ‘both the merits and the weaknesses of the work are very apparent at first hearing.’ On the positive side, Addison has avoided ‘the unforgivable sin of a trumpet work – vulgarity.’ Rayment suggests that the piece has much in common with Dmitri Shostakovich’s Concerto in C minor for Piano, Trumpet, and String Orchestra, Op. 35 (1933) but insists that ‘nowhere are the banalities of parts of that work apparent here’ [in the Addison].  Looking back 70 years I wonder if Rayment has misjudged Shostakovich’s music. The musical parodies in that work are an integral and satisfying part of the concerto.  Turning to the ‘weaknesses’ of Addison’s Concerto, he feels that the main issue lies in the formal structure of the work rather than its content. I guess his criticism of the ‘inevitable fugato’ in the opening ‘Allegretto’ is redundant. It seems ideally placed to create interest. I can understand the comment that the changes of time signature in the score ‘to avoid monotony’, may be an unnecessary affectation. Malcolm Rayment considers that the ‘best movement’ is the ‘Adagio Misterioso’ where the composer ‘has not made the slightest attempt to be clever, and the simplicity of his thoughts are matched in the formal conception.’ This presents music ‘of undeniable beauty.’

In 1951, a piano reduction of the Concerto was published by Joseph Williams. Reviewing this score for Music and Letters (July 1952), E.J. writes that:

‘John Addison's Concerto makes a welcome addition to the trumpet repertory, being expertly composed and having a solo part most appropriate to the instrument, even in the slow movement. It is admirably clear in design and has well-managed climaxes. Though firmly based in the main key of C major, it has plenty of variety of harmony and tonality in the lively outer movements and suitable intensity in the second. The solo part, though difficult, has no showy effects, but is founded largely on characteristic figures, especially the leap of a perfect fourth.’  

The reviewer (P.F.R) in Music Review (August 1953) thought that this is written ‘in a thoroughly English idiom, owing something to Vaughan Williams, in a fresh and attractive manner.’ I am not convinced that the elder composer is alluded to in these pages, except for a few short passages in the slow movement. This critic concludes that ‘the thematic ideas are not in themselves of great distinction, but they are handled with a pleasant sense of colour, especially in the slow central movement and the whole work shows promise and vitality.’

Three years later, John Addison’s Concerto for trumpet crossed the Atlantic. It was given it US premiere at a ‘public dress rehearsal’ at the Hunter College Auditorium, New York, on Sunday 8 November 1953. The Little Orchestra Society was conducted by Thomas Scherman and the trumpet soloist was Robert Nagel. Other compositions heard at this concert were Béla Bartok’s ghostly Music for strings, percussion and celesta and Manuel de Falla’s Master Peter’s Puppet Show (El retablo de maese Pedro). Two days later, Howard Taubman reported on the concert for the New York Times. Rather grudgingly, he states that Addison’s Concerto ‘is a perfectly respectable piece’ but adds that it ‘tells little of the composer’s individuality.’  The reason for this lukewarm response would seem to be that the Concerto contained ‘little in it that sounds radical today.’ This lack of modernity will hardly trouble listeners in 2020. Taubman conceded that the soloist ‘Mr Nagel’ played the solo part ‘in sprightly and musical fashion’ that emphasised the ‘idiomatic use of the trumpet, giving it both virtuoso and lyrical passages…’

The Recording.

John Addison’s Concerto for trumpet, strings, and percussion, was first released in 1969 in the United States on First Edition Records (LOU-695). It was coupled with Danse Africaines by Heitor Villa-Lobos. The Louisville Orchestra was conducted by Jorge Mester and the trumpet soloist was Leon Rapier.

In 1976, the RCA Gold Seal Label (GL 25018) issued a remarkable album featuring four British works, all performed by The Louisville Orchestra.  This included Malcolm Arnold’s Concerto for two violins and strings, Gordon Crosse’s Some Marches on a Ground, Hungarian émigré to UK Matyas Seiber’s Concertino for clarinet and strings and a repackaging of the 1969 release of the Trumpet Concerto by John Addison.

Writing in The Gramophone, October 1976, Malcolm McDonald enthusiastically praised this new ‘selection of four lively pieces by contemporary British composers, none of which we have managed to get on to disc ourselves yet.’ Forty-four years later the situation is hardly much better. Only Malcolm Arnold seems to have fared well with several recordings of his Concerto. MacDonald thinks that ‘Addison has the measure of the trumpet as a soloist, allowing it to be athletic in rhythm, or lyrically smooth by contrast and eschewing extremes of range or of dynamic’. Finally, he suggests that ‘trumpet players must surely enjoy playing this one.’

Lewis Foreman, reviewing the CD release of the Trumpet Concerto on First Edition Music (FED 1904, 2005) for MusicWeb International, (6 February 2006) wrote that:

 ‘John Addison’s Trumpet Concerto is a substantial and brilliant work, which I have to say I did not know...Whether he is being energetic or lyrical, elegiac (as in the slow movement, trumpet muted) and expressive or fizzing as in his finale, his invention is always likeable. The syncopations in the finale are catchy, the trumpet writing dazzling. Trumpeter Leon Rapier is brilliant in the demanding solo part and plangently expressive in the deeper quiet slow music. But why such a sparkling score should be so little played that we are unaware of it is beyond me…’

Any unbiased listener must surely agree that it is time one of the younger trumpet virtuosos should ‘take up’ this remarkable and highly entertaining concerto. It would be a worthy addition to constant repackagings of Michael Haydn and multifarious arrangements of music not originally composed for the instrument.

John Addison’s Concerto for trumpet, strings and percussion has been uploaded to YouTube: 1^st Movement, 2^nd Movement, 3^rd Movement. (Accessed 20 May 2020)

Acknowledgments:

Musical excerpts from John Addison's Trumpet Concerto © Copyright 1951 Stainer & Bell Ltd, 23 Gruneisen Road, London N3 1DZ, UK, www.stainer.co.uk. Reproduced by permission.