British Cello Works: Volume 3

Despite his short life, English composer William Hurlstone left behind a small but outstanding catalogue, including pieces like Variations on a Swedish Air, the Piano Concerto in D major and the Magic Mirror Suite, based on the fairy tale of Snow White. Hurlstone displayed an extraordinary talent, which was recognized early on by his teacher, Sir Charles Villiers Stanford, who considered him the most gifted of his students. Sadly, his music is rarely performed today.

Although not well received by the Times critic at its premiere performance, the Cello Sonata in D major has come to be regarded as a minor masterpiece, the Sonata was written for the cellist May Mukle. With four well balanced movements, the slow movement and the “playful” Scherzo stand out as highlights. The ‘refrain’ of the concluding Rondo has features that Thomas Dunhill regarded as being “unmistakably English in spirit.”  Certainly, this sweeping theme provides a good foil to some of the more reflective moments as the movement progresses. The impact of Brahms is keenly felt as the sonata unfolds. Other stylistic influences include Schumann and Elgar. Yet, the overall impact is none the worse for these debts.

Most pianists of a certain age will have come across Felix Swinstead in their studies. Swinstead was an English pianist and composer, known for his educational piano music. He studied at the Royal Academy of Music and later became a professor there. He produced around two hundred pieces, mainly for the piano, including Fancy Free and Work and Play. He was known for his recitals and international tours.

The liner notes explain that the present Cello Sonata is undated but may well have been written shortly before Swinstead’s death. There are no details of any performances or even a “run-through.” After a dramatic opening flourish, the first movement Allegro devolves into a charming “strolling tune.” Much of the succeeding music is warm hearted and downright lyrical. The Adagio is a different matter. Dusk shrouds the proceedings with the main theme being “a wistful, folk-like tune with a decidedly Celtic lilt.” The finale, an Allegro deciso, has all the hallmarks of English light music, as the two main themes explore moods of happiness and of “Elgarian radiance.” This is a delightful Cello Sonata that makes no demands on the listener and is thoroughly enjoyable from the first note to the last. It should be in every duo’s repertoire.

Doreen Carwithen has made a remarkable impact on the record scene in recent years. Most of her orchestral works have been issued on CD. There are albums featuring her chamber music and a few songs. I am guessing that this is the premiere recording of her Cello Sonatina, although this is not stated on the cover.

Carwithen’s Sonata was completed around 1946. The form is in three movements, with the central one being the fast one. The opening Andante is melancholy and sometimes troubled. The Allegro is a breath of fresh air, with lots of questions and answers between instruments. It sounds technically demanding. The final movement returns to the melancholic mood, as the cello weaves a tender and serene melody. It is another example of a work which begs the question, “Why is it not heard in the recital rooms?”

Unfortunately, the track listing gives this as Sonata in E minor for cello and piano, op.132 (1951). These are the details of an example by Cecil Armstrong Gibbs!

Two other short numbers by Carwithen are included: the introspective Nocturne and the energetic Humoresque. They date from 1943.

The English composer, violist, and conductor, Frank Bridge needs little introduction in these pages. Save to say he is well remembered for his chamber music and orchestral works. The fact that he was a mentor to Benjamin Britten, tends to detract from the appreciation of his own work. Bridge's compositions evolved from romanticism to a more modernist style, reflecting the emotional and societal shifts of his time.

Since hearing the Rostropovich/Britten recording (Decca SLX 6426) of Bridge’s Sonata in D minor for cello and piano, back in the early 1970s, this has been one of my Desert Island works. It has everything: from high romanticism to hints of Bergian “modernism.”

The Sonata took four years to finish, being started in 1913 and concluded in 1917. Its gestation thus spans the years of the First World War. Other major chamber works from Bridge’s pen during this period includes the Sextet (1912) and the String Quartet No. 2 in G Minor (1915).

The clue to appreciating Bridge’s Cello Sonata is to see the “fundamental dichotomy between a pre-war pastoralism and the angry reaction to the horrors of the conflict. It is presented in two movements: Allegro ben moderato and Adagio ma non troppo. The first is a celebration of the high-water mark of Edwardian triumphalism and has echoes of Brahms and even Rachmaninov. The second, is fraught with grief and angst, but comes to a surprisingly optimistic conclusion. It is given a superb performance here by Handy and Walsh.

The track listing on the rear cover of the CD states that Frank Bridge’s dates are (1913-76) and that the cello sonata dates from 1961! It is not the Sonata in C for cello and piano, op.60 (1961). This one belongs to Benjamin Britten.

The liner notes by Paul Conway are to the usual high standard, forming an essay-long introduction to the composers and the music. No resume of the two soloists is included.

All this music is played with obvious skill and enthusiasm. The Swinstead is my discovery on this album, but the Bridge is the highlight (for me), and I will certainly listen to this version many times in the future.

Track Listing:
William Hurlstone (1876-1906)
Cello Sonata in D major (1899)
Felix Swinstead (1880-1959)
Cello Sonata (date unknown)
Doreen Carwithen (1922-2003)
Cello Sonatina (1946)
Nocturne (1943)
Humoresque (1943)
Frank Bridge (1879-1941)
Sonata in D minor for cello and piano, H.125 (1913-17)
Lionel Handy (cello), Jennifer Walsh (piano)
rec. 23-24 March 2024, Winchester College.
Lyrita SRCD.441