I enjoyed the Piano Sonata no.2 “Irish
Memories”. My initial concern was of a possible stylistic imbalance, but this uneasiness
evaporated largely with a second hearing. The work was completed during
November 2010 and was premiered in Waterford Cathedral the following year. It
is dedicated to the present pianist. Richard Francis has written that this
Sonata “is very much a reminder of the composers' several trips to Ireland and
is subtitled "in memoriam" to Aloys Fleischmann and Ernest John
Moeran”. (Composer’s Webpage).
The structure of the Sonata is
unusual. After an Introduction, which has all the hallmarks of a Nocturne, a
great storm-like, virtuosic piece of Lisztian bravura is heard. This is
followed by set of widely contrasting variations on the folksong Slane,
commonly sung as a hymn tune to Be though my vision and Lord of all
hopefulness. The “energetic” Scherzo reminds the listener that “Ireland is
very good horse-riding countryside.” It is a bouncy galop. The Finale is based
on another Irish tune: Maggie Pickens. The movement builds up to a
climax, before recalling the opening Nocturne.
Grand Concert Variations on a theme of Greville Cooke was written for Duncan Honeybourne, in recognition of what he has done to promote the composer’s piano music. The work is based the hymn tune Golden Grove composed by Greville Cooke (1894-1989). In 2014, Honeybourne had released a remarkable survey of Cooke’s piano music, coupled with pieces by Holst and RVW. (EMR CD022). (Reviewed here). The present variations are conceived as being “retro-tonal” and harking back to the musical style of the so-called Georgian composers possibly including York Bowen, Walter Leigh, Joseph Speaight, Benjamin Dale and Greville Cooke). Richard Francis assures the listener that despite some pastiche, there is no composer parodied. After a statement of the beautiful hymn tune, the six variations include the opening, wayward Fantasy, a two-part invention, a cool march tune, a pastoral Eclogue, a dynamic canon at the octave and a three-part fugue to conclude. It is a good set of variations, that are enjoyable and rewarding. Once again just a touch of eclecticism, but that is probably the point.
The CD concludes with ten More Characteristic Pieces for Piano. These were written over a period of years. The first set were issued on A Western Borderland (EMR CD034) (Reviewed here). Several of them have evocative titles. Take Painted Sky, which was inspired by “remarkable cloud formations” seen from a train “following the outline of the Brecon Beacons.” The Seaside Jaunt calls to mind trips to the seaside, back in the 1950s – complete with a little stick of Blackpool Rock. Scales and Arpeggios nod to that bane of the tyro pianist, Czerny. The most haunting is The Lost Garden, with its slow, moody progress. However, the sequence is brought to a rumbustious conclusion with Revelry. Here the vivacious mood lives up to its title. I guess that the partying is not too boisterous and never quite gets out of hand. More Characteristic Pieces are varied in mood and style, but never lack interest. Many of these miniatures would make a splendid encore, or they could be played in contrasting groups of three or four.
A few biographical notes about
Richard Francis will be of interest: The composer was born in Herefordshire in
1946. He studied at the Birmingham School of Music, followed by graduation with
a BMus. degree from the University of London. After various teaching posts in
Edinburgh, Ludlow and Sherborne he continued his studies at the University
College of North Wales with William Mathias. He completed his MMus, LRAM and
ARCO diplomas.
A major part of Francis’s life
was as Organist and Director of Music at the Parish Church of St Laurence in
Ludlow. During this period, he did much freelance recital work and composition.
His compositions include the orchestral The Adamantine Door, much organ
and choral music as well as several chamber and piano works.
A major part of Francis’s life
was as Organist and Director of Music at the Parish Church of St Laurence in
Ludlow. During this period, he did much freelance recital work and composition.
His compositions include the orchestral The Adamantine Door, much organ
and choral music as well as several chamber and piano works.
The liner notes by the soloist are readable and interesting. That said, the inserts was badly stapled and folded. The sound quality of the disc is beyond reproach. I could not find was the date and venue of recording and the total duration of the CD. The former is cited on the Prima Facie webpage devoted to this CD.
I thoroughly enjoyed this new CD. Duncan Honeybourne is an unmistakably powerful advocate of Richard Francis’s piano music. All the music performed is approachable and easily enjoyed. That does not mean that the listener does not have to engage. The Sonata is a big work that demands concentration.
Piano Sonata no.2 “Irish Memories” (2010)
Grand Concert Variations on a theme of Greville Cooke (2015)
More Characteristic Pieces for Piano (2006-2015)
Duncan Honeybourne (piano)
rec. April 2019 Ty Cerdd studio, Cardiff Bay,
PRIMA FACIE PFCD108
No comments:
Post a Comment