Sidney Torch: London Transport Suite (1957)

Commissioned by the 1957 BBC Light Music Festival, Sidney Torch’s London Transport Suite is a little bit of whimsy. Although not approaching the wit of Gerard Hoffnung’s legendary concerts at the Royal Festival Hall, it is certainly fun. Three short movements notice long vanished aspects of the Capital’s transport system. The Suite was premiered on BBC TV on the evening of 4 August 1957, at 10pm.

Sidney Torchinsky, known professionally as Sidney Torch, was a prominent British composer, conductor, and pianist born on June 5, 1908, in London. Early study began with his father, Morris Torchinsky, a professional trombonist. Torch studied piano at the Blackheath Conservatoire and quickly gained recognition as an accompanist to violinist Albert Sandler.

Torch's career took a significant turn when he became an organist at various London cinemas, including the Regal, Marble Arch, and the Gaumont State Cinema. During World War II, he served in the Royal Air Force, where he was able to pursue his career as a conductor and arranger for the RAF Concert Orchestra. After the war, he began to write light orchestral music, as well as conducting the Queen's Hall Light Orchestra and the New Century Orchestra.

The liner notes for the Marco Polo (see below) recording of the London Transport Suite explains that Torch was “inspired by the withdrawal from service of 'The Brighton Belle', a much-loved train running between London and Brighton, a fashionable seaside resort on the south coast of England. The three movements therefore describe modes of transport no longer with us.”

The first movement portrays an old Hansom Cab, seen on the streets in the early twentieth century. This is no ‘Blask Cab’ but a horse drawn vehicle that could accommodate two people, three at a squeeze. Torch has created a musical portrait of a ‘day in the life’ of the horse. From leaving the stable, to an early morning clip-clop down a quiet London street. Suddenly a motor car backfired, and the poor old horse bolted, causing damage in a China shop. All turned out fine, and the piece ends with a “whinny.” The ‘big’ tune here is a classic ‘light music’ creation. And it is reprised at the end.

The second movement pays respects to Rosie, The Red Omnibus. She was the precursor of the Routemasters and Boris’s Buses. Torch has portrayed Rosie by the tuba and comes complete with an old-fashioned horn. There is lot of wheezing as it progresses along The Strand. Once again, a splendid melody is introduced, suggesting that the bus finally gets moving.

The last movement, The 5.52 from Victorloo is a clever bit of ‘railway music’ so beloved of light music composers. Combining two of London’s busiest main line station, the piece opens with steam train sounds from the band, before a big tune emerges supported by a chuffing accompaniment.

Sidney Torch’s London Transport Suite (1957) can be heard on YouTube, here. The BBC Concert Orchestra, conducted by Barry Wordsworth. It was released in 1996 on the Marco Polo label, 8.22443, as part of their British Light Music series.

It's not British, but...Scheherazade for piano

The liner notes remind the listener that as “A mystic realm tinged with the scent of foreign spices, bewitching music, vivid colour and sensual delights…Orientalism sparked a new wave of romanticism in Western art in the 19th century.” Certainly, one of the drivers of this interest were translations of the Thousand and One Nights, also known as The Arabian Nights, into various European languages. This included a French edition by Antonine Galland published over the years 1704-17, and multi volume English editions by John Payne, 1882-84 and Richard Burton, 1885-88.

The Arabian Nights is an enormous collection of Middle Eastern folk tales compiled during the Islamic Golden Age. The core of the collection is the story of Scheherazade, an intelligent woman who tells captivating stories to her husband, King Shahryar, to postpone her execution. She weaves tales each night, leaving them unfinished so that the king spares her life to hear more. Well-loved stories include Aladdin's Lamp, Ali Baba and the Forty Thieves, and The Seven Voyages of Sinbad the Sailor. These tales are rich with themes of adventure, magic, love, and justice, often reflecting the culture and values of the medieval Islamic world.

Nikolai Rimsky-Korsakov was long fascinated by the “mythical orient.” His most popular work is the orchestral Symphonic Suite: Scheherazade, op.35 (1888). It was inspired by four stories from the Arabian Nights. The movements are: The Sea and Sinbad’s Ship, The Story of the Kalendar Prince, The Young Prince and the Young Princess and the concluding Festival in Baghdad - The Shipwreck on the Rocks. The texts of the underlying stories are easily discovered on the internet. The original features brilliant orchestration, exotic themes, and dramatic musical storytelling. It is a fine blend of Eastern influences with the Western symphonic tradition. The use of leitmotivs for Scheherazade and the Sultan gives continuity to the entire Suite.

The present pianist, Etsuko Hirose has made a wonderfully evocative transcription for piano solo. It is faithful to the impact and atmosphere of the original. Especially delightful is the romantic The Young Prince and the Young Princess. And the final movement describing the shipwreck, rises to a Lisztian power and drama.

Now the obvious question is of appeal. Would the listener want to hear a piano version of this well-loved work, or would they stick with one of the myriad recordings made of the orchestral score. Two reasons why they should buy this CD. Firstly, I was really listening to the music, and not just allowing it to wash over me. I heard things in this performance that have eluded me over the past half century. And, secondly, it is not just a transcription of the music, but a faithful recreation. Hirose has developed a score that is truly pianistic.

Sergei Bortkiewicz (1877-1952) was a Ukrainian-born pianist and composer who later became an Austrian citizen. He studied at the Imperial Conservatory in St. Petersburg and later at the Leipzig Conservatory as a student of Alfred Reisenauer and Salomon Jadassohn. His work is exemplified by its romantic style, rich harmonies, and melodic beauty. He wrote numerous piano pieces, including concertos, preludes, etudes, and sonatas, which are admired for their technical demands and expressive depth. Sadly, despite some revival on disc in recent years, Bortkiewicz's works remain relatively unknown, except to enthusiasts of the genre.

I am beholden to the liner notes for information about Bortkiewicz’s Oriental Ballet Suite: Thousand and One Nights, op.37. It was published in 1928 as a piano solo but was later orchestrated by the composer. Speaking of his time in Constantinople, Bortkiewicz recalled: “One suddenly feels transported to ancient times, one forgets the present and believes that one is experiencing a fairy tale from 1001 Nights come to life. It would be too much to describe all the beauties of this fairytale like country.” The Suite is presented in ten contrasting movements. The opening Caliph Haroun-al-Rashid reflects this potentate’s power with fanfares whilst The Story of the Poor Fisherman evokes the magic of the genii out of the bottle. The Dance of the Young Girls is wistful, dreaming, perfect, and the Oriental Dance fairly zips along, with a lovely reflective trio section. ‘Hammer Horror’ sonorities infuse The Enchanted Castle which is followed by a melancholy tribute to Zobeide and her two sisters, the latter of whom were turned into black dogs. The track listing titles the seventh movement as a Dance of Mourning; however, the score gives it as a Dream Dance. There is little grieving in these pages. It is possibly the loveliest number in the suite. The Three Sisters return with a lively Allegro with its chattering progress reflecting on the Talking Bird, the Singing Tree, and the Golden Water. A Bacchanal, which is not too wild and drunken leads into The Wicked Magician Escapes from the Bottle. This is full of dramatic pianistic effects bringing the Suite to an end.

Japanese classical pianist Etsuko Hirose began playing the piano at age three and performed Mozart's Piano Concerto No. 26 at six years. After studying in Paris, she won first prize at the 1999 Martha Argerich Competition, launching her solo career. She has also ‘received the guidance’ of Alfred Brendel, Marie-Francoise Bucquet and Jorge Chamine. Hirose has performed at prestigious venues worldwide, including the Kennedy Center in Washington and the Suntory Hall in Tokyo. Her interpretations of Chopin, Schumann, and Liszt are particularly acclaimed by critics for their depth and sensitivity.

Helpful liner notes are included, in English only. There is a long resume of Etsuko Hirose’s distinguished career.

I enjoyed this disc evoking the delights of a Thousand and One Nights and their heroine, Scheherazade. The pianist has created lovely performances of enchanted music that will appeal to lovers of fairy tales of all ages.

Track Listing:
Nikolai Rimsky-Korsakov (1844-1908)
Symphonic Suite: Scheherazade, op.35 (1888), arr. Etsuko Hirose (b.1979)
Sergei Bortkiewicz (1877-1952)
Oriental Ballet Suite: Thousand and One Nights, op.37 (pub.1928)
Etsuko Hirose (piano)
rec. 2-4 September 2024, Théâtre Georges-Leygues, Villeneuve-sur-Lot, France
Danacord DACOCD 985

Arnold Bax: Legend for viola and piano (1929)

Just what the lore was behind Arnold Bax's Legend for viola and piano, is uncertain. It may be some tale from Ireland, so beloved by the composer. Or maybe from the dark forests of Scandinavia. Then again it could be the moors and mountains of the Western Highlands of Scotland. More likely there is no story, just a mood picture.

The Legend was completed during July 1929, whilst Bax was living at 155 Fellows Road, Swiss Cottage, London. The manuscript was dedicated to the American patroness, Mrs Elizabeth Sprague Coolidge who commissioned it. Sadly, her name was misspelt ‘Elisabeth’ on both the holograph and the published score. The latter was first issued in 1930 by Murdoch, Murdoch, and Co.

Bax had been working on his Symphony No.3 in London and Arisaig, Inverness-shire. It is full of vibrant colour and stormy, rhythmic drive, which captures his evocative, often mystical style. Much of it was written “in polar conditions in a dingy, unheated [North Scotland hotel] room working in an overcoat,” Other achievements in 1929 included the first recording of his Viola Sonata, with Lionel Tertis, and the premiere performance of his Symphony No.2 on 13 December in Boston, USA.

The overall impact of the Legend is straightforward. It is in a single movement, lasting for around ten minutes, and ostensibly in E minor, though with considerable chromaticism. The piece develops in three sections. It is characterised by rich harmonies and expressive melodies for both the viola and the piano. The Legend is a balance between Bax’s dreamy longing and episodes of disturbing malice. Throughout, he evokes a deep sense of narrative and wide-ranging emotion, which was typical of the composer. Yet, there is a dense, sinister atmosphere at times in this piece, especially at the beginning. This introverted mood gradually dissipates as the work progresses, before coming to a positive and satisfying conclusion.

The first performance of Legend for viola and piano was given at the Aeolian Hall, London on 7 December 1929. The soloists were Lionel Tertis, viola, and Arnold Bax, piano.

The Times (9 December 1929, p.10) reporter was not impressed by the organisation of the recital. He considered that “it certainly would have been better to have played the Mozart Sonata (K.305) later instead of at the beginning, to give Mr. Tertis time to feel completely at home: for once his playing did not show the expected clarity and ease.” Another reason was “the fact that…[the Mozart Sonata’s] delicate character would have stood out better against the general atmosphere of solemnity created by Brahms, op. 120, No.1.”  Other music heard at this recital included John Ireland’s Sonata No.2 in A minor and his The Holy Boy as well as the Tartini–Kreisler Fugue, W. H. Reed's Rhapsody, and a Fantasia by York Bowen for four violas. In this latter number, Tertis was assisted by Rebecca Clarke, Dorothy Derbyshire-Jones, and Winifred Copperwheat. Turning to the Legend, the unsigned critic, (possibly H.C. Colles) felt that “Mr. Bax's work is well laid out, and it was well played, and its rather gloomy mood might perhaps have been more acceptable with brighter and more cheerful surroundings.”  Overall, during the recital there was “less opportunity than usual in this scheme of admiring the remarkable variety of tone which Mr. Tertis can obtain from his instrument, and it must be confessed that the sombre colouring which prevailed did rather tend to become monotonous.”

The Daily Telegraph (9 December 1929, p.6) critic Ferruccio Bonavia, considered that “The first performance of Mr. Arnold Bax's Legend…added considerably to its interest; for, if original compositions for other instruments are far from common, original compositions for viola are exceedingly rare.” He stated that “As could be expected from so distinguished a composer, the Legend exploits effectively the genius of the instrument without, however, placing this before musical and aesthetic considerations. The solo part is far from easy, but there is no opportunity for acrobatics. The tests to which the interpreter must submit are of a different nature; tone quality, phrasing - these are the chief requisites of this highly imaginative work which Mr. Tertis appeared to understand in perfection. The piano part was played by the composer himself, and both composer and interpreter were warmly applauded by the audience.”

John White (2006, p.114) quoted Rebecca Clarke’s diary, where she lamented the “Poor audience and he (Tertis) didn’t seem very happy.” He then quotes a review from the Musical Times (January 1930, p.69) “The new Legend for viola and pianoforte by Arnold Bax which Mr. Lionel Tertis introduced at his concert at Aeolian Hall on December 7 [1929], is in one continuous movement. A first, and single hearing impresses it on the memory as being in the rich style of shifting harmonic colour that Bax now most often uses. The viola part, played in this instance with Mr. Tertis’s astonishing mastery and exquisite control of tone, is free and dramatic.”

Listen to Arnold Bax’s Legend for viola and piano on YouTube, here. The performers are Martin Outram (viola) and Julian Rolton (piano) on Naxos: 8.557784

Bibliography:
White, John, Lionel Tertis: The First Great Virtuoso of the Viola, The Boydell Press, 2006

A Happy and Prosperous New Year

To All Readers of

The Land of Lost Content

Some Significant (and less so) Composer Anniversaries for 2025:

 Bi-Centenaries:

William Baly

Mary Gabriel

Kate Loder

Frederick Arthur Gore Ouseley

150 Years:

Samuel Coleridge Taylor

Albert Ketèlbey

Sydney H Nicholson

Norman O’Neill

Cyril Rootham

Martin Shaw

Donald Tovey

William Gillies Whittaker

Centenaries:

Tristram Cary

Ronald [Ron] Goodwin

Anthony Milner

Daphne Oram

 Continental Composers Anniversaries

Johann II Strauss (200)

Reinhold Glière (150)

Reynaldo Hahn (150)

Maurice Ravel (150)

Pierre Boulez (100)

Luciano Berio (100)

Gunther Alexander Schuller (100)

Looking at the above list of British composer anniversaries, the only one that will resonate with concertgoers is Samuel Coleridge Taylor (1875-1912). Already reasonably well represented on CD and regularly heard on Classic FM, this year could be a good opportunity to get to know his music better. Surely at least one performance of the epic The Song of Hiawatha will be given a concert performance. Other works that may be heard are the Christmas Overture, the Petite Suite de Concert, and his Nonet in F minor. I wonder if there will be a place for the Symphony in A minor or the Violin Concerto in G minor at this year’s Proms?

Albert Ketelbey’s (1875-1959) short pieces of light music have clung on over the years. I guess that In a Persian Market, Bells Across the Meadow or In a Chinese Temple Garden may be heard over the coming weeks. Perhaps the Cockney Suite may be revived?

Sir Sydney Hugo Nicholson (1875-1947) was an influential English choir director, organist, and composer. He founded the Royal School of Church Music (RSCM) and compiled The Parish Psalter. Educated at New College, Oxford, and the Royal College of Music, he served as organist at Westminster Abbey and edited the Hymns Ancient and Modern supplement. Nicholson's hymn tunes, like "Crucifer" for "Lift High the Cross", remain popular in Anglican churches. It is unlikely that his choral ballets Ivry and The Luck of Edenhall will be resurrected.

It would be good if one or two of Norman O’Neill’s (1875-1934) numerous suites of incidental music were to be rediscovered. I am thinking of the score written for J.M. Barrie’s play Mary Rose. But he also wrote much chamber music, some of which has been recorded. And then there is the Overture: In the Springtime and A Scotch Rhapsody.

Cyril Rootham (1875-1938) was an English composer, educator, and organist. He was a Fellow and organist at St John's College, Cambridge, where he significantly influenced English music through his innovative programming with the Cambridge University Musical Society. Rootham composed two symphonies, much chamber music, choral works, and an opera, The Two Sisters. His contributions to music education and his revival of neglected works left a deep legacy in British music. His gorgeous setting of W.B. Yeats’s The Stolen Child or his choral City in the West [Bristol] could be revived.

Martin Shaw (1875-1958) was an English composer, conductor, and theatre producer. He is remembered for his contributions to church music, including editing Songs of Praise and The Oxford Book of Carols. Shaw composed over three hundred works, including hymns, carols, oratorios, and instrumental pieces. Hus work significantly influenced the revival of traditional English church music.

Best known for his seminal volumes of Essays in Musical Analysis, which set a high standard for music criticism, Sir Donald Francis Tovey (1875-1940) was a British musical analyst, musicologist, writer, composer, conductor, and pianist. Tovey made significant contributions to music education as Reid Professor of Music at the University of Edinburgh, where he founded the Reid Symphony Orchestra. His editions of works by Bach and Beethoven remain influential. Sadly, his compositions are precious few, though several have been recorded in recent times. This includes his Cello Concerto, Piano Concerto and Symphony in D major. Will he be recalled in concerts given this year by the prestigious Scottish Orchestras? I am not holding my breath…

William Gillies Whittaker (1876-1944) was a prominent English composer, pedagogue, conductor, musicologist, Bach scholar, publisher, and writer. Born in Newcastle upon Tyne, he initially studied science but later pursued music. Whittaker made significant contributions to British music, particularly through his work with the Newcastle Bach Choir and the Scottish National Academy of Music. He was best known for his arrangements of northern folk songs and his efforts to elevate music education. Whittaker's legacy includes his role as General Editor for Oxford University Press's Educational Music Department. He was also a friend and correspondent with Gustav Holst.

Works that could be revived in this his sesquicentennial year could include the remarkable Among the Northumbrian Hill for piano and string quartet (1922), his A Lyke-Wake Dirge for chorus and orchestra (1925).

Going back in time, I doubt there will be major celebrations for William Baly (1825-91). Born in Warwick he studied at the Royal Academy of Music with William Sterndale Bennett and Cipriani Potter. According to the British Music Society Composer Profiles (third edition, 2012) he composed a symphony, a string quartet, piano pieces, and part-songs.

Mary Gabriel (1825-77) is not a name known to listeners. In her day, she was famous for her many songs of which she composed more than three hundred. Her catalogue also included cantatas, and seven operettas, some with intriguing titles: Widows Bewitched, The Lion’s Mouth, Lost and Found, The Shepherd of Cornouailles and Who’s the Heir. Perhaps her Glamis Castle Waltz could be resurrected by an enterprising pianist. It might be a bit naïve, but it would make a good encore.

Kate Loder (1825-1904) was an English composer and pianist. Born in Bath, she was the daughter of flautist George Loder and piano teacher Frances Kirkham. Loder studied at the Royal Academy of Music, where she became the first female professor of harmony. She composed piano music, songs, and choral works. Loder married surgeon Henry Thompson in 1851 and gradually shifted from performing to composing and teaching. Her students included notable musicians, and her contributions to music education were significant.

Sir Frederick Arthur Gore Ouseley (1825-1889) was an English composer, organist, musicologist, and priest. He showed musical talent from an early age, composing an opera aged eight. He studied at Christ Church, Oxford, and was ordained in 1849. Ouseley founded St Michael's College in Tenbury Wells in 1856 designed to elevate Anglican church music standards. He served as Heather Professor of Music at Oxford and Precentor of Hereford Cathedral. His works include oratorios, anthems, and hymns, and he contributed to the revival of church music in England. I guess that the odd anthem at one of the Three Choir Cathedrals would be welcome.

I would be surprised if there is a big splash of events commemorating the centenaries of Tristram Cary (1925-2008) or Daphne Oram (1925-2003). Which is a pity, as both participated in the development of electronic music in the UK. Cary is best recalled for his film score to The Ladykillers, starring Alec Guinness, Cecil Parker, Herbert Lom, Peter Sellers, and for his music for Doctor Who’s Dalek films. Oram was a co-founder of the BBC Radiophonic Workshop.

Ron Goodwin (1925-2003) is remembered for his film scores, especially the Miss Marple films featuring Margaret Rutherford, Where Eagles Dare and Force Ten from Navarone. But his greatest success was 633 Squadron, based on a fictional WW2 bomber squadron.

Bristol-born Anthony Milner (1925-2002) was a British composer, teacher, and conductor. He studied at the Royal College of Music, Herbert Fryer for piano and music theory with R. O. Morris. Milner’s compositions evolved from early influences by Michael Tippett, eventually finding his own voice within an essentially tonal style. His choral works, often with religious texts, stand out, and he also wrote orchestral and chamber music. It would be splendid to hear one of his choral works, such as Roman Spring, or his Symphony No.1.

Finally, I think that there may be celebrations here and abroad for Maurice Ravel. To what extent the centenaries of Pierre Boulez, Luciano Berio and Gunther Alexander Schuller will be honoured in the UK is anyone’s guess.