Scenes
in the Scottish Highlands is, as Scott-Sutherland stated in his review, ‘an
extended Suite of Lisztian proportions.’
In fact, many other composer’s might have entitled the work a Scottish
Sonata. The opening movement has a wide sweep in much of its progress. The
liner notes suggest that ‘the imposing opening theme is cut out of similar
tartan to that of MacCunn’s Land of the Mountain and Flood overture.’ (MacCunn’s
work was composed seven years after Mackenzie’s Suite). The
striding, tramping music is characterised by dotted quavers in both hands, with
much use made of octaves. There are a few Scotch snaps (short followed by long
notes) and grace notes provided to emphasise the Scottish connection. The
middle section of this ternary (three part) ‘movement’ is more reflective and infinitely
less warlike in mood.
Anyone
who has ever stood on the banks of Loch Lomond with a ‘special friend’ will
‘get’ the second piece, ‘On the Loch’. This typically restrained ‘barcarolle’
or ‘nocturne’ creates a picture-perfect atmosphere of evening. The time
signature here is 4/4 but the figuration of the left hand is largely in
triplets. This may not technically be a barcarole, but the effect is the same.
It is quiet, crepuscular, and drifting, with this latter quality highlighted by
some gentle, but fascinating modulations. Howell notes that ‘a descending
phrase here and there seems to recall the “were ever wont to gae” phrase from
the famous song ‘The Bonnie Banks o’ Loch Lomond’. The music of John Field
seems to inspire this ‘movement’.
All
sadness, recollection and wistful ‘what might have beens’ are blown away with the
final piece, ‘On the Heather’. This is a ‘gentle romp’ with lots of Scotch snaps,
especially in the middle section. The ethos here is of a day trip to the
heather clad hills and most certainly not a ‘yomp’ across them.
Whatever
the impact of the scenery implied by the titles of each piece, Mackenzie has
created a work that is impeccably constructed, replete with many attractive
themes and melodies and is well-written for technically competent pianists.
From a personal point of view, Scenes in the Scottish Highlands is an ideal
evocation of the Scottish scenery, eclipsed only by the above-mentioned Overture
by MacCunn and the Scottish works by Felix Mendelssohn.
The
Scenes in the Scottish Highlands, op.23 were published by Novello in
1880. They are dedicated to the eminent German pianist Edward Dannreuther.
The
earliest work on this CD is the thoughtful ‘Nocturne’ seemingly composed
sometime around or before 1861. Once again, this music owes more to the
Irishman John Field rather than the Polish Frederick Chopin. The melody that
dominates this piece is quite beautiful, with a considerable Scottish
atmosphere about it. The piece ends with a passionate restatement of the tune,
rather than drifting into the gloamin’. The fact that the ‘young’ composer
possibly overdoes the repetition of melody, and may have something to learn
about modulation, does not detract from this beautiful little work.
Equally
‘vintage’ is the inspiring set of Variations in E minor (c.1861). This is influenced
by the sights and sounds of the Scottish landscape and songs, respectively. I
love Christopher Howell’s description of the theme ‘as typically Scottish as
any icy mountain burn.’ It may or may not be based on a given melody. After an
introduction, the music progresses through ever more complicated and decorated
variations. A little respite is given in the third, which is written in a
melancholic minor key. It will bring a tear to the eye any sentimental Scot
(like me!). The finale is a gentle romp, with some wayward modulations, and
brings this bewitching piece to a solid conclusion. These Variations were
composed whilst Mackenzie was living in Herriot Row in Edinburgh.
Morris
Dance,
written in 1899, looks ‘Furth o’ the border’ with its bouncy, almost
Grainger-esque nod towards an English village green rather than a Highland
clachan. In the same year, Mackenzie orchestrated the Morris Dance and
paired it with a ‘Processional.’ The work carries no opus number, however Duncan
James Barker, in his thesis (1999) about Mackenzie, notes that early printed
copies of this work carried the subscription op.2, but this was later dropped
in successive reprintings.
Six
Song Transcriptions by Giuseppe Buonamici is a remarkable work by any
measure. The first thing to think about is, who was Giuseppe Buonamici? He was
an Italian pianist and composer. Born in Florence on 12 February 1846, he
studied music with his uncle, Giuseppe Ceccherini and then with Hans von Bülow
and Joseph Rheinberger at the Royal Bavarian Conservatory in Munich. On his
return to Florence in 1873, he worked as a piano teacher and choral conductor. Buonamici was later appointed professor of
piano at the Instituto Musicale in Florence. As a concert pianist, he made
several European tours performing in Germany, Italy, and England. He was highly
regarded by Liszt. Another aspect of his musical achievement lay towards
editing music. Buonamici published editions of Beethoven and Schubert. His own
compositions included several piano pieces, a string quartet, and an overture.
Giuseppe Buonamici died in his home city on 17 March 1914.
The
relationship between Buonamici and Mackenzie should be the subject of a
dissertation. It seems that whilst on a ‘rest-cure’ abroad, the Scotsman was
recommended to Buonamici and George F Hatton, both pupils of von Bülow, and
living in Florence. It is known that Mackenzie was friends with Liszt and was a
member of the ‘Liszt Circle’ with the Hungarian composer having considerable
influence on his harmonic and formal procedures.
Returning
to the Six Song Transcriptions by Giuseppe Buonamici… Mackenzie wrote
many songs over his career: few, if any, have been recorded. His choice of
texts was wide-ranging and are (apparently) characterised by ‘their fresh
simplicity’. I have never heard any of them. Buonamici has here provided a
masterclass in song transcription in the Lisztian manner. Each piece is a flawless
miniature, that is often moving in its effect. Of especial appeal to me was the
subtle Scotticisms of ‘Phyllis at the Fair’ despite Burns’s poem being written
in standard English. The final transcription ‘O Roaming Wind’ is quite simply
stunning. They are over the top, to be sure, but as such are ‘guilty pleasures.’
I love them.
The
titles, sources and dates of each arrangement are only alluded to in the CD
liner notes. Full details are as follows:
·
‘Phyllis
the Fair’ (Robert Burns) from Eleven Songs, op.31, no.1, pub.1885.
·
‘It
was a time of Roses’ (Thomas Hood) from Eleven Songs, op.31, no.2, pub. 1885.
·
‘What
does little birdie say?’ (Alfred, Lord Tennyson) from Eleven Songs, op.31, no.7a,
pub. 1885 (First version)
·
What
does little birdie say?’ (Alfred, Lord Tennyson) from Eleven Songs, op.31,
no.7b, pub. 1885 (Second version)
·
‘A
Birthday’ (Christina Rossetti) from Three Songs, op.17, no.3. 1878.
·
‘O
Roaming Wind’ [‘Heart-Sorrow’] (J. Logie Robertson) from Three Songs op.16,
no.2, (1878)
Listeners
may be encouraged to look up each poem to gain a greater appreciation of the
musical impact. Unfortunately, I was unable to study the sheet music of Mackenzie’s
original song versions. It is surely a project for Christopher Howell to
examine the possibility of a recording of Alexander Mackenzie’s ‘Complete Songs’.
The
final work on this CD is Varying Moods. This was composed in 1921 and
dedicated ‘To his friend Myra Hess’. Howell explains that at this time,
Mackenzie had taken Hess ‘under his wing’ whilst she was studying at the Royal
Academy of Music. Varying Moods
was to be his final piano work. The four pieces in this collection will strike
the listener as being harmonically and stylistically in advance of his earlier
piano music. ‘Revery’ (Lento (quasi recit.) is quite perfect. Howell suggests
that this piece nods towards ‘early Scriabin’ or perhaps Nikolai Medtner. I
wondered if Frank Bridge could have been a model too. The second piece is the
will o’the wisp ‘Ariel’, which is musically matched to the character from
Shakespeare’s The Tempest. Bridge is certainly an analogy here,
especially his delightful The Dew Fairy from The Hour Glass Suite
(1920). The eponymous ‘Varying Moods’,
is a little valse lente. It is sad and introverted in its progress. ‘Grotesque
Dance’ is a huge surprise. The Victorian Mackenzie has fully engaged here with
the ‘modern’ world. Howell is correct in likening this piece to Sergei
Prokofiev. I was unable to find any details of this work’s premiere. I wonder
if Myra Hess ever performed it…
I
have previously reviewed Volume 1 and Volume 2 of Christopher
Howell’s survey of the complete piano music of Alexander Mackenzie for these
pages. As to the inspired and sympathetic playing, the high sound quality, and
the excellent liner notes, I have little to add. I have enjoyed immensely the pleasure and
privilege of exploring the varied piano music of fellow-Scot Alexander
Mackenzie. I was constantly surprised at just how pleasurable his piano music
is. Any listener who enjoys the great European Romantic composers such as
Wagner, Liszt, Schumann, and Chopin will find this present CD and the other two
in the series of great interest. The listener needs to realise that Mackenzie
is very much a European composer, rather than a British or even Scottish one.
On the other hand, he often brings the numinous quality of his native land into
his music (as well as a few Scottish musical devices and clichés) to make much
of his music appeal to the Celt or Lowlander and draw them back over great
distances of time and space to the Mother Country.
Track
Listing:
Alexander
Campbell MACKENZIE
(1847-1935)
Variations in E minor (1861 or earlier)
Nocturne in A (1861 or earlier)
Morris Dance (1899)
Six Song Transcriptions by Giuseppe
Buonamici (later than 1885)
Varying Moods, op.88 (1921)
Christopher
Howell (piano)
rec.
Studios of Griffa & Figli s.r.l., Milan, Italy, 14 February 2017, 26 October
2017
SHEVA
COLLECTION
SH251
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