The Music of Colin Hand

I do not know much about the composer or his music. I am indebted to the excellent liner notes written by Andrew Mayes for much of the background to this review. 

Colin Hand was born in Winterton, North Lincolnshire during 1929. Despite youthful exploits at viola playing in the school orchestra and some early composition, he was originally destined to become a biochemist. Yet, a musical career beckoned, and after study with the organist Dr Melville Cook, he went on to gain a Bachelor of Music degree from Trinity College, Dublin. Much of his subsequent career involved lecturing in further education and then as an examiner for Trinity College of Music, London. Throughout his profession, he composed, reaching a staggering 260 opus numbers. His catalogue includes many genres: orchestral, choral, organ, chamber music and songs. He also had an interest in devising and arranging teaching material. During the 1970s he was awarded a PhD for his study of the Renaissance composer, John Taverner. The last years of his life were spent at Sibsey near Boston, Lincolnshire, where he participated in the musical life of St Botolph’s Church, the famous Boston Stump. Colin Hand died on 6 August 2015, aged 86 years. 

This CD opens with the Petite Suite Champêtre, op.67, from the mid-1960s was written for the “pioneer” recorderist Carl Dolmetsch. It was originally published for recorder and piano. In 1968 Hand arranged it for recorder, violin, cello and harpsichord. The Suite is a subtle balance between the baroque dance exemplars and a touch of contemporary spice. The only problem I have is that it is too short! The four movements together are less than five minutes long.

The Three Songs to poems by John Fletcher, op.91were completed in 2005, though seemingly first drafts were made in 1954. They are scored for soprano, recorder and piano. The lively Hymn to Pan extols his virtues, whilst the introspective Aspatia’s Song is deeply moving. The final number, God Lyaeus is a rollocking bacchante.

The Concerto Cantico, op.112 is a longish three movement work scored for recorder and string quartet. It was commissioned by Arnold Dolmetsch to be played at his 1984 Wigmore Hall Concert. Hand withdrew it after the recital and it was not until 2010 that it finally re-emerged at the behest of the current recorderist, John Turner. It is an attractive piece, although I do agree with the liner notes’ suggestion that the first movement is “perhaps a little protracted.”  The slow movement, Moderato, is gentle, but a bit too like what has preceded it. The bouncy Finale is a joy from end to end, with its sudden unexpected last note. Once again, this Concerto is a good balance of tradition and soft modernity.

The Three Lieder, op.258, setting texts by Vivian Locke Ellis (1878-1950), are deeply felt. In fact, Hand believed that they represented a step in his journey to becoming a “more romantic composer.” I have not read any of Ellis’s poetry before. The three poems set here, Dark Sunset, Waves, and This Sad Serenity are contemplative and sad, but not without a degree of passion. Lesley-Jane Rogers gives a commanding performance of these splendid examples of a songwriter’s art.

Locke Ellis is also the inspiration for the Angelus (2004). Here it is given in two versions, one as a “vocalise” for tenor recorder and piano, and a setting for soprano and piano of the underlying poem. The instrumental edition is dark and brooding. A beautiful little gem. The song is equally ominous with a perfect balance between words and music.

Colin Hand’s Quartet, op.252a was originally called Variations on the Triad, op.252. The revision is dedicated to Edgar Hunt (1909-2006) who was a key player in the revival of the recorder. The Quartet is in six short, well balanced movements. After a dramatic opening Allegretto ritmico, there is a spirited “scherzo.” The heart of the work is a “pensive” siciliano. Almost inevitably, a cheeky Jig follows, before the recorder and piano give more than a hint of the “blues.” The finale balances energy with reflection to bring this fascinating work to a conclusion.

Thomas Hardy provided the poems for the Three Bird Songs, op.259, for soprano, recorder and piano. I guess that the key to this short cycle is the use of the recorder to mimic the language of the birds. It is a clever conceit that provides interest to this evergreen poetry. Satisfyingly, Hand does not overplay the recorder descant. The three songs are I watched a Blackbird, The Darkling Thrush and Proud Songsters.

The booklet explains that in 1970, Colin Hand “took delivery of a small spinet which he had ordered from the Dolmetsch workshop.”  It would eventually inspire several pieces such as A Badinage for Joseph to play (1982) and Five Portraits, op.264 in 2008. The Sonatella, op.265 was completed the following year. It is very short, lasting under three minutes. This is pastiche, but with a twist here and there. It is appropriate that it is played here on Hand’s spinet.

In 2009, Colin Hand wrote his delightful Two Songs to French Poems, op.267. The texts had been found in a volume of short French poems which his wife had used when teaching some fifty years ago. They are set for soprano, recorder and piano. The two songs are Dimanche and Le Moulin à vent.

For me, (as an organ enthusiast) the most impressive work on this CD is the In Nomine 6: The Taverner Sonata, op.127 (1988) written for organ. The Sonata was dedicated to David Wright, organist of St Botolph’s Boston. The liner notes explain that the formal structure includes an Introduction, a Theme, Seven Variations and a Finale all based on a plainsong melody found in John Taverner’s Mass Gloria Tibi Trinitas. In Nomine 6 exploits a variety of organ sonorities and calls for skilful registrations. The Sonata was later revised in 2004, however, Andrew Mayes believes that the original version is “more effective.” It is this version that is performed here.

This accomplished performance by Tom Winpenny was made on the organ of St Albans Cathedral, Hertfordshire.

I cannot fault anything on this CD. All the performances are committed and ideal. The sound quality of the recording is perfect. I have already mentioned the outstanding liner notes.

This is a great introduction to the largely forgotten music of Colin Hand. The present CD can only provide a taste of his achievement. Conceivably, further albums of his work will be forthcoming

Track Listing:
Colin Hand (1929-2015)

Petite Suite Champêtre, op.67 (1960s)
John Turner (recorder), Emma McGrath (violin), Heather Bills (cello), Harvey Davies (harpsichord)
Three Songs to poems by John Fletcher, op.91a (2005):
Hymn to Pan
Aspatia’s Song
God Lyaeus
Concerto Cantico, op.112 (1984)
John Turner (recorder), David Routledge, Simon Gilks (violins), Steven Burnard (viola), Svetlana Mochalova (cello)
Three Lieder, op.258 (2009):
Dark Sunset
Waves
This Sad Serenity
Angelus for tenor recorder and piano, op.251 (2004)
Angelus for high voice and piano, op.251a (2004)
Quartet, op.252a (2004)
John Turner (recorders), Emma McGrath (violin), Heather Bills (cello), Harvey Davies (piano)
Three Bird Songs, op.259 (2005):
I watched a Blackbird
The Darkling Thrush
Proud Songsters
Sonatella, op.265 for harpsichord or virginal (2009)
Two Songs to French Poems, op.267 (2009):
La dimanche (Sunday)
Le Moulin à vent (The Windmill)
In Nomine 6: The Taverner Sonata, op.127 (1988)
Tom Winpenny (organ)
All songs: Lesley-Jane Rogers (soprano), John Turner (recorders), Harvey Davies (piano/spinet)
rec. 2018-2021 various locations
PRIMAFACIE PFCD 192 [78]