Percy Whitlock: An American Pen Portrait from 1939 Part 2

This is the second part of  Dr Hamilton C MacDougall’s  travelogue written for the popular organists’ journal, The Diapason. In these he describes many of the instruments and musicians that he encountered on his travels in the United Kingdom The first section looked at his life, and in the second considers his compositions. The final paragraph is the most interesting, where Percy Whitlock gives some advice to the prospective organist. I have provided some notes and made a few editorial changes. 

Percy Whitlock’s Compositions. Whitlock gives this list of his compositions: Five Short Pieces, Four Extemporizations, Fantasie Chorale No. 1 and No. 2, Seven Sketches on verses from the Psalms, Books 1 and 2, Sonata in C minor, Plymouth Suite, in press, but due any moment. He's working on a set of chorale preludes. [1]

Whitlock’s work has been confined, so far as the American public is aware, to the organ, but he is working on the music for a play-fantasy, The Day-Dream Family, by Madge Beaumont, for a performance at the Pavilion Feb. 11; also a new work, Prelude, Air and Fugue for large modern orchestra, for performance March 15, the local music festival week. Later in his letter to me of Jan. 14 he speaks of a Concerto for organ and orchestra in process of publication (is this the Symphony in G minor, also by Whitlock?). [2]

Other orchestral compositions are: Concert Overture [The Feast of St Benedict], Carillon and To Phoebe (organ and orchestra), [Theme and] Variations, Serenade [for string orchestra], Holiday Suite, Wessex Suite, Poem (organ and orchestra). For choral works he acknowledges [in 1938] eight anthems and seven services, as well as Bridgewater and Rochester pageant music.

I am of the opinion that Whitlock is what is often termed a “marvel of industry.” What bid does Whitlock’s music make for general popularity? I think the approach to his idiom is made through the Five Short Pieces. His Fantasie Chorale No. 1 is a difficult work, and the Sonata in C minor still more difficult. But Whitlock insists that these lie well under the fingers and that any player with a developed technique can play them without undue trouble; he also told me that writing done at the desk is subjected to the most rigid criticism at the keyboard until it is absolutely practical.

With respect to the modern dissonant music, he can listen with patience to music, however modern, if it shows some underlying sincerity of design; he admires very much the work of Leo Sowerby. [3]

Although Whitlock has a sharp wit, he is not unduly cynical. He does not advise anyone to start in the organist’s profession unless he is most exceptionally gifted, has a little money of his own, is able to undertake any and all kinds of work, cares nothing for kicks and opprobrium, has the cheek and pertinacity of Satan, has influential friends or comes of good family is a mad, keen enthusiast and is willing to work hard for little financial reward. With all these qualities, plus a good measure of luck, he might be able to make a reasonable living.

Dr Hamilton C. MacDougall, The Diapason 1 April 1939 p.18

Notes:
[1] The Chorale Preludes seemingly never saw the light of day. The Six Hymn Preludes, which were begun in 1923, were duly published in 1944.

[2] The Day-Dream Family, by Madge Beaumont premiered on 11 February 1939 in the Pavilion. It had a cast of almost 300 with the Municipal Orchestra playing PW's original score, conducted by Monty Birch. The story/plot covered the period 1848-1908. Whitlock also set a few of her poems as songs. Much of the music used in this play fantasy was later reused by the composer in several works, including the Holiday Suite and the Balloon Ballet. The Organ Symphony in G minor was completed in January 1937. This work for organ and full orchestra was premiered in the Bournemouth Pavilion on 21 March of that year. This large scale work is written in four movements and lasts for more than half an hour. It is the only symphony that Whitlock completed. 

[3] Pulitzer-Prize winning composer, organist, and choirmaster Leo Sowerby (1895–1968) was de facto composer in residence for the Chicago Symphony Orchestra under Frederic Stock in the 1920s, 30s, and into the 40s, and the American composer most often programmed by domestic orchestras nationwide during most of that period. Sowerby’s substantial output comprises over 500 works in every genre but opera and ballet, and includes five symphonies, several cantatas, and numerous works for organ and orchestra. Cedille Records website
Concluded