Listeners need to know that Thomas Baron Pitfield was a polymath. Not only was he a hugely prolific and skilled composer, but he was an artist, poet, teacher, author, cabinetmaker, and ornithologist. It has been said that he hid many more lights under his bushel. To be sure, he is not one of the “towering giants” of British music, but on the other hand he has been unfairly ignored on the wider stage of concert halls and recital rooms. I have mentioned before I have never heard a piece of Pitfield’s music that I have not enjoyed and genuinely warmed to.
Stylistically, he is hard to
define. I guess that Delius, Vaughan Williams, and Percy Grainger will spring
to mind. Pitfield does make use of folk song and adapts it to his own classical
style. To my knowledge, he never indulged in dodecaphony or flirted with the
avant-garde. His compositions are always characterised by tuneful melodies,
interesting harmonies, and an acute understanding of the needs of
instrumentalists.
I began my review of this CD with the bewitching Sonatina for cello and piano completed in 1955. The liner notes explain that the “cello was Thomas Pitfield’s own instrument, and he received lessons in his youth from the cellist Katherine Moorhouse, the first wife of the Manchester composer Eric Fogg (Uncle Eric of BBC’s Children’s Hour), both of whom became hospitable friends to Pitfield.” It was dedicated to the onetime Principal Cellist at the Hallé Orchestra, Oliver Vella, and his [Oliver’s] wife Sheila. It is delightful, with some inventive moments especially in the opening Allegro risoluto and the dreamy Arietta. At just shy of eleven minutes, this sonatina is hardly a miniature designed for didactic purposes. The tyro would need to have a strong technique to give a good account, especially for the concluding Toccatina. It is given an impressive performance here by the two soloists.
The Sonata in D minor, was finished
in 1937/38, however, it was not published until 1949. Sadly, no commentary on
this important work is given in the liner notes. The opening Variations
contains Rachmaninovian pianism, counterpointed to more “English” sounding
passagework. Overall, it is conceived in an eclectic style: some may argue to
its detriment. I loved the dreamy Pastoral Interlude. Echoes of Delius
abound here, with significant effect. Other stylistic models follow in the
‘middle eight.’ I can imagine Pitfield exploring his beloved Dunham Massey, a
great park south of Manchester. The Sonata is rounded off with a folksy Epilogue,
played Allegro. Are there nods to a well-known Christmas carol in these
pages? Like so much British music, it is hard to understand why this splendid sonata
is not in the “standard” repertoire for cello/piano duos.
The short Epigraph for
violin, cello and piano (undated) was based on “fragments from an ostinato by
the Russian composer Arensky, written for The Arensky Trio.” It is a
thoughtful, pensive little number.
Ever since being introduced to
Schubert’s Trio in B flat major, op.100 in 1977, I have been an enthusiast of
the piano trio genre – especially, I must add, those devised by British
composers.
Pitfield’s Piano Trio No.1 in C major was written in 1930 and was dedicated to his wife-to-be, Alice M Astbury. It was premiered at an Oxford University Press private concert on 16 March 1933, by the New London Trio. It is difficult to pin down the sound world of this piece. It is by turns pastoral, romantic, and edging towards an incipient modernism, especially in the final movement. Here and there a folk tune emerges before being cast aside. Yet this is not cow-and-gate music, despite debts to several then-contemporary composers, including RVW and the pianism of York Bowen. John Turner, in the liner notes, explains that “this substantial and serious early work is in a much more harmonically advanced style than his later music, and exhibits few of the distinctive footprints of his later works.” It is an enjoyable and deeply felt Trio that enchants the listener, rather than seriously challenges them.
The premiere performance of the Piano Trio No.2 in F minor (Lyric) (1948/49) was given by the Arensky Trio, during a concert celebrating Pitfield’s 80th birthday, on 6 May 1983 at All Saints Church, Altringham. John Turner notes that it remains unpublished. Despite its soubriquet, it is more astringent in mood than the earlier example. Yet, it is hardly difficult for the listener. The opening Allegro marcato, uses a bouncy folklike theme, whose title is always just on the tip of the tongue. The two-part, second movement opens with a long Larghetto solenne theme for solo piano, before it opens into a beguiling scherzo, Allegro quasi allegretto for all the players. The piano does dominate again for a number of bars before the movement concludes melancholically. The finale, an Allegro marcato, fairly bounces along, with lots of extravagant pianism and vivid string playing. Here and there, a quieter interlude tries to impose itself, typically without success. This characteristically “molto perpetuo” movement concludes in quiet reflection.
The CD booklet is well produced. As noted above, I would have appreciated a little more analysis and commentary on each work than John Turner has provided. There is a good introduction to the composer as well as notes on the performers. The cover features the evocative water colour "Weaver Bridge at Church Minshull, Cheshire, from the garden of Weaver Cottage.” It is a splendid example of Pitfield’s achievement as an artist.
Despite having nothing to compare them to, the performances exude brilliance, technical competence, and a sympathetic understanding of Pitfield’s music. The recording is clear and vibrant.
I do hope that this CD is successful and manages to introduce these five attractive works to a wide audience, including other piano trio outfits. The advertising brief for this CD is spot on:
“This album offers a glimpse into Pitfield’s artistic vision and craftsmanship. Pitfield’s compositions are filled with elegance, lyricism, and emotional depth.”
Track Listing:
Thomas Pitfield (1903-99)
Piano Trio No.1 in C major (1930)
Piano Trio No.2 in F minor (Lyric) (1948/49)
Epigraph for violin, cello and piano (undated)
Sonatina for cello and piano (1955)
Sonata in D minor for cello and piano (1937/38, pub. 1949)
The Pleyel Ensemble: Sarah Ewins (violin), Heather Bills (cello), Harvey Davies (piano)
rec. 17-19 July 2023, Carole Nash Recital Room, Royal Northern College of Music, Manchester.
Divine Art ddx 21137
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