Romance and Reverie: Holst and his Contemporaries

The publicity for this CD states that the repertoire “is based on chamber works written or arranged for violin with either voice or another instrument, by Holst himself and four composers who were contemporary with him – with a focus on neglected works but including a new arrangement of one very popular piece.”

Appropriately for the sesquicentennial anniversary of Gustav Holst’s birth, three of his works are given here. All are in slightly different versions from what many listeners will be used to. Invocation was originally conceived for cello and small orchestra in 1911. He later arranged it for cello and piano. The present edition for violin and piano was devised by Hannah Roper. Even though Holst was employed on his Rig Veda settings at that time, the overall impression is one of Englishness – and possibly ascending larks! Invocation was originally titled A Song of Evening, which suggests that it may have been deemed a companion piece to A Song of the Night (1905), also heard in this recital. Originally this latter work was conceived for violin and small orchestra but is heard here rescored for violin and piano. I do not know if this version is in Holst’s hand. It does not offer an evocation of England, but something more mystical and nodding to India.

The final track is an arrangement of Holst’s Lyric Movement for viola and small orchestra (1933). This was one of his final compositions and was dedicated to the violist Lionel Tertis. Once again, it has been arranged by Hannah Roper for violin and piano. This nocturnal piece presents shifting harmonies, clear textures, and soaring melodies. It is not austere, but neither is it a pastoral rumination. Imogen Holst considered it to be one of her father’s finest works.

William Yeates Hurlstone displayed remarkable musical talent from an early age. Despite his premature death, he left behind a small but excellent body of work. His catalogue includes the Variations on a Swedish Air, a Piano Concerto, the Magic Mirror Suite, an important Piano Sonata in F minor, and the Cello Sonata in D.

The liner notes suggest that the Four English Sketches are “miniatures which paint almost idyllic musical portraits of English country life, like scenes on a Royal Worcester porcelain dinner service.” Certainly, there is an inherent innocence here. The Pastoral is more Edward German than RVW, whilst the Caprice has a beautiful ‘big tune’ in the middle eight. Romance is melancholy but ending enigmatically: A story rather than a love affair? The finale, A Revelry is the most technically demanding of the Sketches. Bouncy and playful, Hurlstone has introduced a bit of a fugal passage in the Trio section.

Two other pieces by Hurlstone are included – his Revery and Romance. I like the programme notes suggestion that they have a “charming sepia-toned quality.” They are much deeper and profound in impact than the Sketches. It is not explained in the notes that these two numbers would appear to be part of Three Pieces for violin and pianoforte. They are all undated, but the manuscript carries a date of 12 August 1894, for one of them. There is also an Intermezzo, which is not included in this recital.

Rebecca Clarke’s quixotic Midsummer Moon echoes Claude Debussy and Ralph Vaughan Williams. Written in 1924, it is just a little bit eclectic in its stylistic integrity. However, she has managed to express an entire range of emotions, from playfulness to the dream-like magic of a warm summer’s night.

Clarke’s Three Irish Country Songs (1926) are scored for soprano and violin, based on folk tunes. The first, I know my love utilizes a delicate counterpoint between the soloists. I know where I’m going is a gentle rumination on love sullied by her sweetheart Johnny’s bad reputation. The final number, As I Was Goin’ to Ballynure, is a good old Irish romp. A wonderful violin obligato here.

Ethel Barns was an English violinist, pianist, and composer. Her Valse Caprice (1894) is virtuosic, with nods towards the Polish violinist and composer Henryk Wieniawski. It is an involved number, which sounds very English despite the French title. Barns’s Lament (also called Chanson Indienne) is an involved mood picture, drawing on Indian scales with nods to modalism. It is undated.

I first heard The Lark Ascending in the Bean/Boult version dating from 1972 (HMV ASD2847). It has been my go-to recording whether on vinyl, cassette, or CD since then. Despite listening to Valeria Clarke’s arrangement on two occasions in the preparation of this review, I am not convinced. The liner notes explain that “With the carefully considered addition of extended techniques for harp, the music takes on a feel which can only be described as even more English, with the folk inspiration for the melodies and harmonies on clearer display through the recognisably ancient timbre of the harp.” To be sure it is a faithful account of this ever-popular work and deserves to be successful. It is just not for me.

The liner notes by Chris Cope, Hannah Roper and John Francis are helpful, and include backgrounds of the composers and brief notes on the repertoire. Not all dates are given: I have provided these where possible. The booklet is illustrated with publicity shots of the recitalists and photos of the composers. Brief biographies of the performers are given. The picture on the CD cover was previously used on ALBCD038 – Time and Space.

I cannot fault the performances on this CD. The heavy lifting is done by Hannah Roper (violin) and Martin Jacoby (piano), ably assisted by the soprano Emma Tring and the harpist Valeria Clarke. The playing is always sympathetic and well balanced. The songs by Rebecca Clarke are sung with clarity and imagination without an overly exaggerated Irish accent.

It is useful to have these relatively unknown works made available, especially the Rebecca Clarke, Ethel Barns, and the William Hurlstone. The three arrangements of Holst’s early concerted pieces are a valuable contribution to his birthday honours. Listeners will make up their own mind about this latest incarnation of The Lark Ascending.

Track Listing:
Gustav Holst (1874-1934)
Invocation for violin and piano (1911), arr. Hannah Roper
William Hurlstone (1876-1906)
Four English Sketches for violin and piano (pub. posth.1910)
Rebecca Clarke (1886-1979)
Midsummer Moon for violin and piano (1924)
Ethel Barns (1873-1948)
Valse Caprice for violin and piano (1894)
Hannah Roper (violin), Martin Jacoby (piano)
Rebecca Clarke
Three Irish Country Songs for soprano and violin (1926)
Emma Tring (soprano), Hannah Roper (violin)
Gustav Holst
A Song of the Night for violin and piano (1905)
Hannah Roper (violin), Martin Jacoby (piano)
Ralph Vaughan Williams (1872-1958)
The Lark Ascending for violin and harp (1914), arr. Valeria Clarke (b.1992)
Hannah Roper (violin), Valeria Clarke (harp)
William Hurlstone
Revery and Romance for violin and piano (c.1894)
Ethel Barns
Lament (?)
Gustav Holst
Lyric Movement for violin and piano, (1933) arr. Hannah Roper
Hannah Roper (violin), Martin Jacoby (piano)
rec. 28-29 May 2024, Ruddock Performing Arts Centre, Edgbaston, Birmingham.
Albion ALBCD065