I recently reviewed the second
volume of Arnold Cooke’s chamber music in this ‘edition’ (MPR105) for MusicWeb
International. I discussed the stylistic parameters of the composer’s music
there. Biographical details can be found in the introductory remarks to my
review of Cooke’s Symphonies No.4 and No.5 on Lyrita
REAM1123. I will limit myself to a single
comment here. Arnold Cooke typically eschewed various modernist techniques such
as serialism and was never attracted to the avant-garde. He once wrote that his
music is ‘mainly based on traditional procedures and principles…I do not have
any particular theories of composition, just a natural inclination for it.’ Cooke’s
music is eclectic, approachable, and firmly rooted in traditional tonality
spiced with dissonance and a modicum of ‘Bartókian ruggedness’. Although there
is little in the way of British nationalism in his style, there is much ‘English
lyricism’ that adds warmth to his music.
I am beholden to Harvey Davies’s
excellent liner notes for details of all these pieces. Despite the majority of
works on this CD being for oboe and piano, I chose to listen to the Sonata for
two pianos first. It is the earliest piece in this disc.
Arnold Cooke wrote this Sonata
between 1936 and 1937. It clearly predates similar examples by Paul Hindemith
(1942), Igor Stravinsky (1944) and Francis Poulenc (1953). It is unlikely (but
possible) that Cooke would have been inspired by Arnold Bax’s Sonata for two
pianos written in 1929 for Ethel Bartlett and Rae Robertson. Bax’s work is
predicated on pastoralism, sea music and Hebridean dance rhythms. The liner notes explain that Cooke admitted that
Stravinsky’s Concerto (not Sonata as stated in these notes) for Two Pianos, ‘which
had appeared in 1935, had made a considerable impression on him and that he had
probably been influenced by it to some extent…’
Cooke’s Sonata opens with a slow
introduction, which seems to be a characteristic of his music – at least in the
works included on this disc. Then the movement ‘gets going’ with an ‘allegro’
in sonata form. Much of this music is bitter-sweet, with touches of the baroque
thrown in. Counterpoint between the two pianos is the modus operandi. It is
often exiting and builds to an enthusiastic and exhilarating coda. The slow
movement is written in Cooke’s English-Hindemithian style. This is elegant
music that balances repose with relatively relaxed effort. The middle section
is typically wistful and dreamy in its gentle exploration of piquant harmonies.
Cooke concluded his Sonata with a rapid ‘tarantella’ that provides a happy
conclusion to this sometimes austere and lyrical sonata. The entire work maintains the listener’s
interest from the first note to the last.
Arnold Cooke’s Sonata for two
pianos was written at the behest of the pianists Adolph Hallis and Franz
Reizenstein, who duly gave the premiere at the Aeolian Hall on 17 March 1937.
I was impressed by the Quartet
for oboe and string trio written in 1948. This work was a commission from Mrs.
Lys Hackforth. Her husband, the classics don Richard, ran the Thursday Concert
Series at Cambridge University. Léon Goossens gave the premiere performance on
1 December 1949 at this venue accompanied by the Carter String Trio. The work is in three balanced movements which all
reflect Cooke’s post-war musical ethos of economy, ‘imaginative counterpoint’
and sheer craftsmanship applied to structure and means. The opening movement explores
a limited amount of melodic material with considerable ingenuity. Imitative counterpoint
leads to memorable phrases and musical interest. The liner notes suggest that
the modality of the themes provides ‘a gentle English melancholy’ to what is
largely a ‘cheerful’ movement. This is followed by a haunting ‘Aria’. The track
listing shows that this should be performed ‘Allegro ma non troppo’ (not too
fast). In fact, it is played slower than that, but with no detriment. It is an
idyllic movement that seems to display a gentle pastoral mood, without making
use of any rustic clichés. The finale is
a sheer delight. Dance-like music, bounce, a long slow central cadenza, and a
closing jig make this an exuberant varied and enjoyable conclusion.
Arnold Cooke’s ‘first’ Sonata for
oboe and piano was completed in 1957. It was written specifically for Léon
Goossens. The entire work is based on a
relatively simple melodic device. However, this is established with skill and
craftsmanship and used to produce a work that is full of interest and lyrical adventures
that never flags or descends into mere note spinning. The opening movement is written in ‘modified
sonata form’. There is a brief slow introduction followed by the exposition
with the first and second subjects lacking in contrast. Cooke has abandoned the
development section, in favour of a rework of the introduction. I found the following ‘andante’ plaintive and
reticent. The composer has presented a series of ‘long melodic lines’ and used
these to create a ternary (three-part, ABA) movement. The middle section is
‘urgent’ in its effect. The despondency returns, bringing this troubled
movement to an end. The finale is effectively a jig. The liner notes explain
that this includes the most technically difficult music of the entire sonata.
It is not difficult to see how the wide ranging and rhythmically diverse
melodic lines are challenging. One of the episodes of this ‘rondo’ has been
described as ‘caricaturing the oboe’s sound in a tune reminiscent of clucking
and pecking hens!’ I am not sure about this imagery, but this ‘Grotesque Dance’
is certainly energetic and lively. The work ends with some thoughtful
reminiscences of the Sonata’s opening bars. Interestingly, the cadenza is given
to the piano, rather than the oboe. It is a creative touch.
The Sonata for oboe and cembalo
(or piano) (1962) is remarkably in advance of the 1957 work. It is hard to
believe that only five years separate these two works. For the curious, cembalo is simply the
Italian word for harpsichord. I hesitate to say this, but I am glad that the
present soloists have chosen to play this work in its alternative setting for
piano (authorised by the composer). It is not that I dislike the harpsichord, I
just the piano. It is the same for me with Bach! Additionally, the keyboard
part is better suited to the piano. Rapid left-hand octaves can be awkward on
the cembalo.
This Sonata is more dissonant and
edgy than the earlier work and requires concentrated and sympathetic listening.
The work begins with a slow introduction, followed by a powerful allegro, with
much of its material derived from opening bars. The melody does not rely on a
tone-row, but it has a strong chromatic feel about it. The ‘adagio’ presents music with dark hues.
There is nothing straightforward here: all is enigmatic and restless. The last
movement balances the dissonant and chromatic excursions of the slow movement
with a certain forced ‘jollity.’ But to no avail. This is complex and involved
music that cannot escape angst and sorrow.
This Sonata was composed
specifically for Evelyn Rothwell, wife of the well-known conductor Sir John
Barbirolli. The dedication is shared with Valda Aveling, who at that time was
Rothwell’s musical partner. It was first performed in Huddersfield by the
dedicatees during 1962.
It is always tempting to regard
musical birthday gifts as ephemeral. The Intermezzo, a ‘mere’ 27 bars
long, is a case in point. This was composed as part of the Léon Goossens’s 90th
Birthday Celebrations held at the Wigmore Hall on 12 June 1987. Yet this short piece is full of good things. The
music is simple, evocative, and concise. The oboe and piano weave its
contrapuntal spell on the listener. It may not be a major work, but it is of
the highest quality. This is a lovely, moving and satisfying piece that
deserves a solid place in the oboe and piano music repertoire.
Despite living until 2005, Arnold
Cooke ‘retired’ from composing in 1991, as far as his oeuvre is concerned, this
‘Intermezzo’ is a late work. It should be noted that the indefatigable John
Turner ‘tempted’ Cooke out of retirement in in the mid-nineties to compose two
works: A Little Suite No.2 (1993) for recorder and piano: and Songs of
Innocence (1996) for soprano, clarinet and piano.
The liner notes are informative,
fulsome and a model of their kind, with comprehensive details about each work
that is not available from any other source. Performers details are included. I was
surprised that there was no biographical sketch of Arnold Cooke. I accept that
most devotees of this composer will know the basics. On the other hand, this
disc will appeal to oboe music enthusiasts who may need a little introduction
to Cooke’s life, times, and achievement. The playing in all these pieces is
splendid, although I have nothing to compare the performances to. Certainly,
the players encapsulated the vibrancy, the introspection, and the clarity of
all these works. Equally captivating is the quality of the recording. The cover
design is an evocative collage of Manchester including a tramcar, very unlike
those running in 2020.
In my review of MPR 105 I noted
that there are some 45 chamber works in Arnold Cooke’s Catalogue of Works.
Mike Purton’s remarkable record label has now recorded 12 of them (plus the
two-piano sonata). I do hope that this is an ongoing project. I did see that
there were only four CDs proposed: perhaps some more may be envisaged. There are
plenty more tantalising pieces to explore.
Track Listing:
Arnold COOKE (1906-2005)
Sonata for oboe and piano (1957)
Sonata for oboe and cembalo (or piano) (1962)
Intermezzo for oboe and piano (1987)
Quartet for oboe and string trio (1948)
Sonata for two pianos (1937)
Melinda Maxwell (oboe works), The Pleyel Ensemble: Sarah
Ewins (violin), Susie Mészáros (viola), Heather Bills (cello) (Quartet) Harvey
Davies (piano, Helen Davies(piano) (Sonata for two pianos)
Rec. The Carole Nash Room, Royal Northern College of Music,
Manchester, 28 August 2017 (Sonata for two pianos); 8-9 September 2018 (Oboe
works)
MPR 108
With thanks to MusicWeb International where this review
was first published.
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