Alan Rawsthorne: Suite for flute, viola, and harp (1968) Some Further Reviews and Studies

For the second half of this post about Alan Rawsthorne: Suite for flute, viola, and harp, I quote two contemporary reviews of the premiere performance, one of a later concert, two appraisals of the score and John McCabe’s comments about the piece in his study of the composer.

The Times (16 November 1968, p.21) critic J.C. explained that Rawsthorne’s “initials are clear in the subtle understatement characterizing all three succinct movements. After an eerily atmospheric introduction, the first develops into a grave moderato linear argument, but ends atmospherically, with a shudder. Ravel's ghost may haunt the frail intermezzo, yet artfully, the wisps of valse remain wisps. Once the flute takes fright: the ending is a gleaming consonance. The finale, after a wryly rhythmic start, seems less certain of its way. too episodic. But the homecoming itself is decisive.”

A.E.P. writing for the Daily Telegraph 16 November 1968, p.15) under the headline “Reticent New Trio by Alan Rawsthorne,” considered that it “was characteristically reticent, even at times fugitive in tone, with several moments, like the tiny introduction, of magic sonority and a moving central movement in which phrases and textures seemed in flight from pain.” Overall, according to this critic, much of the programme was very well performed, “especially the charming Leclair Trio Sonata and the Bax, and Marisa Robles herself played charmingly in a Sonatine for solo harp by Nadermann.”

In the Yorkshire Post (13 February 1969, p.2) commenting on a later performance of the Suite at the Keighley Music Club by the same performers, Ernest Bradbury considered that the “...three movements show the composer working in a darker, more sombre field than that with which we usually associate him...quite wonderfully conceived...”. (Cited Dressler, 2004, p.279)

Writing in the Musical Times, (December 1971, p.1024), Niall O’Loughlin, states that “the publication of the three-movement Suite by the late Alan Rawsthorne [he died in the summer of 1971] is a fitting memorial to his music and typical of his art: restrained and self-effacing, yet never without character, beautifully balanced and well written. The medium naturally lends itself to intimate chamber music and generally gestures are subtle, and textures refined without being austere.” O’Loughlin concludes by insisting that it “a lovely work that deserves to be well known.”

In Notes, (Mar. 1972, pp. 520-521) Norman Cadzen remarked on the value of Rawsthorne’s Suite to the “still uncrowded repertory” of this instrumental combination which provides a “more dainty and lyrical medium…closer to the composer's inclinations than is the standard metaphorical and rhetorical battle of the piano hero against the massed strings.” He understands the dominance of the Intermezzo allegretto in creating what is essentially a cyclic work. Cadzen is impressed by the “unexpected metrical vigour in the last movement” which he feels will lead “the comfortably seated audiences of today” to tap their feet or drum their fingers.

The most detailed examination of the Suite was given in John McCabe’s study of the composer (1999, p.278). He considered that this “is hardly an important work, and the melodic material is in itself not particularly memorable, but as a divertissement it is sweet and charming, with a vernal freshness reflecting Rawsthorne’s pastoral side.” McCabe notes that “despite the twelve-note tone row that emerges gradually and is one of the of the principal thematic and harmonic ideas, it also has some diatonic themes and chords.” Finally, a prominent place is given to the finale, which is “almost a pounding rustic dance…” The middle movement has “hints of both siciliano and waltz, though a more romantic interlude on harp looks for all the world like Rawsthorne’s familiar style of piano writing.” The opening movement begins with a slow introduction, setting out the tone row.

Discography
Rawsthorne, Alan, Suite for Flute, Viola, and Harp + works by Poston, Goossens and Vellones, Nederburg Harp Trio: Lucien Grujon, flute; Walter Mony, viola; Kathleen Alister, harp, RPM Studios-1093 (1974) (LP)

Rawsthorne, Alan, Suite for Flute, Viola, and Harp; Concerto for Ten Instruments; Sonatina for Flute, Oboe and Piano; Quintet for Oboe, Clarinet, Horn, Bassoon and Piano; Quintet for Clarinet, Horn, Violin, Cello, and Piano; The Fibonacci Sequence, ASV DCA-1061 (1999) (CD)

Bibliography
Dressler, John C. Alan Rawsthorne: A Bio-Bibliography (Westport, Connecticut, Praeger Publishers, 2004)

McCabe, John, Alan Rawsthorne: Portrait of a composer (Oxford University Press, 1999)

Poulton, Alan, ed, Alan Rawsthorne, Essays on the Music (Hindhead, Bravura Publications 1986)