Prior to Christopher Howell’s offering, Dennis Hennig released an attractive recital on the Etcetera Records label (KTC 1132) in 1992. This was to have been the first volume of a “complete” edition. Sadly, Hennig died shortly afterwards. The same year Marthanne Verbit included the Sonata No.1, the Danse Negre and Lotus land on her Past Futurists album (Albany Records Troy 070). Fifty-one years ago, she had released these three works on vinyl, coupled with the 5 Poems. (Genesis GS 1049). There have been others.
Howell’s recital opens with Six Pieces published in 1903, but probably dating from Scott’s time in Frankfurt as a student. This is pleasant “salon” music, exploring a variety of moods. There is no logical connection between these charming pieces. I especially warmed to the Folksong and the bubbly Scherzino.
The Two Pierrott Pieces (1904) have often been recorded. They were written when Scott was living in Liverpool. The first, Pierrott triste, is based on a tonal structure, but overlaid with complex chromaticism. The second, Pierrot gai with its harmonic waywardness, added note chords and a diatonic main theme provides a good contrast.
It is interesting to recall that
Scott played them to Gabriel Fauré, who was quite complimentary. They were
never to meet again. Howell brings all the emotion required to these lovely
numbers: sadness, introspection in the former and coquetry and vivacity in the
latter.
Sea-Marge was composed in 1914 and dedicated to the American-born British financier and philanthropist Sir Edgar and his wife Lady Spayer. Cyril Scott has developed impressionist harmonies, extended tonality and even nods towards minimalism in this evocative sea-piece. The title implies “at the edge of the sea or river, where the waves break in the shore. ‘Marge’ is an archaic word for ‘margin.’ During World War I, Sir Edgar faced anti-German sentiment and resigned from his positions, though he was cleared of accusations of trading with the enemy.
Rudyard Kipling’s The Jungle Book is usually associated with Disney’s delightfully animated film or its more recent remake. Though Kipling’s text sparks debate today, it remains rewarding to read and was highly regarded in Scott’s time. In 1912, he wrote Impressions from the Jungle Book, a five-movement piano suite inspired by the text. These are sometimes seen as naïve, but often include striking imagery, like the Stravinsky-ian Dance of the Elephants and the sinuous Rikki-Tikki-Tavi and the Snake. Morning Song of the Jungle, however, is not programmatic. It is a serene character piece, evoking tranquil sunrises - whether in India’s jungles or by the misty Mersey at New Brighton.
Cyril Scott’s two pot-boilers are Lotus Land and Rainbow Trout. Both could be defined as being impressionistic. Christopher Howell has wisely chosen to omit the former, as there are dozens of recordings of this piece. The latter was written in 1916. It magically captures the vigorous, erratic movements of this delicious fish, complete with sparkling arpeggios and gentle melodies that paints a vivid picture of a glistening stream and the trout’s progress.
The Little Russian Suite was intended as “teaching music.” That said, a look at the score suggests that it is no cinch. There is little that is ‘Russian’ here save in the opening Air, where Scott quotes a tune from the finale of Tchaikovsky’s Serenade in C for strings (cited De’ath, line notes CDLX 7183). The Siberian Waltz seems to me a “souped up” salon piece with the final Dance being more like a passacaglia than a turn around the ballroom.
There are nods towards the Billy Mayerl style of piano playing in the First Bagatelle (1919) with its subtle swing and metric irregularities. Yet, Mayerl did not really get into his stride until the 1920s.
The first of Moods, Sadness, is introverted and seems to come to a halt every so often. Conversely, there are delightful spread chords to add to the interest. Lassitude is equally reserved. The last, Energy, is powerful and vigorous. Moods needs to be played as a set.
In 1915 the Butterfly Waltz was published by Schott. Leslie De’ath has suggested that this is a parody of then-fashionable salon and ballroom music. Equally tongue in cheek is the Inclination à la Danse (1922) which would appear to nod to Carl Maria von Weber. The final track on this disc is the delightfully romantic Valse Sentimentale (1929) with its cocktail piano atmosphere.
Christopher Howell is well known for his explorations of British piano music. These include complete editions of Charles Villiers Stanford and Alexander Mackenzie, as well as the ongoing survey of Charles Hubert Hastings Parry. He does not ignore continental composers. There are albums of Debussy’s Preludes and Haydn Sonatas.
The performance is splendid, and the recording is good. The liner notes are adequate but could have given more detailed information/analysis of each piece.
This is an essential disc for all Cyril Scott enthusiasts. It predates the massive cycle by Leslie De’ath by some ten years. However, as an enjoyable selection of the composer’s music, it has not been superseded.
Track Listing:Cyril Scott (1879-1970)
Six Pieces, op.4 (1903)
Two Pierrot Pieces, op 35 (1904)
Sea-Marge: Meditation (1914)
Impressions from the Jungle Book (1912)
Rainbow Trout (1916)
Butterfly Waltz (1915)
A Little Russian Suite (1916)
First Bagatelle (1919)
Moods (1922)
Inclination à la Danse (1922)
Valse Sentimentale (1929)
Christopher Howell (piano)
rec. 15-16 July 1993, Regson Studios, Milan
Tremula TREM 104-2
With thanks to MusicWeb International where this review was first published.
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