The recital opens with a sonata by the redoubtable Ethel Smyth. Written in 1877, when she was only 19 years of age, the Sonata No.3 does nod towards Brahms and Beethoven and is none the worse for that. Jacobs’s description of this work is apposite: “It has great energy and propulsion, allied to an English no-nonsense, dog walking sense of purpose.” There are two movements, an Allegro followed by an Allegro vivace.
Peter Jacobs has recorded the
slow movement of the Sonata No.2 (1877) which he has subtitled “Song Without
Words.” It is hardly surprising that this charming number has echoes of Felix
Mendelssohn and Robert Schumann. Both are worthy of any pianist’s repertoire.
Only five samples from Elizabeth Maconchy’s suite, A Country Town are played here. Dating from 1945, these miniatures include a lugubrious The Fair, and a slightly jazzy Quarrel between who knows who. The Lament is particularly reflective. There is a folksy “buzz” in her exposition of The Knife Grinder and a beautiful simulation of sound in Bells.
Grace Williams’s The Silent Pool (1932), is a desolate little tone poem that gives a subtle description of what may be a bleak Welsh topographical feature.
Equally morose is Helen Grime’s The Silver Moon (2015). The title is derived from a poem by D.H. Lawrence called Weeknight Service. I understand the poem was either a well-wrought nocturne, or more complexly, a critique of capitalism and excessive industrialisation of the countryside.
The liner notes explain that Madeleine Dring was an admirer of both Francis Poulenc and Cole Porter. Her Colour Suite is full good things. Each movement of this jazzy suite has a ‘colourful’ title such as Pink Minor, Red Glory, and Brown Study. The most thoughtful movement is the Billy Mayerl-esque Blue Air.
I do not ‘get’ Judith Bingham’s The Moon Over Westminster Cathedral (2003). Peter Jacobs describes this four-minute piece as being a “slow burn:” I find it long winded. That said, there are some interesting sonorities here.
The best-known movement from Amy Woodforde-Finden’s Indian Love Lyrics (1903/13) is the Kashmiri Love Song. This was included on Jacobs’s Anthology: Twentieth Century British Piano (Heritage HTGCD 159). Two of the other movements are heard on this disc, Less than the Dust and The Temple Bells. Despite Jacobs’s protestations that these two numbers are “a little faded” there is much charm and delight in these pages.
Cecilia McDowall’s Vespers in Venice (2002) offers a diverse portrait of "La Serenissima.” All the noises of a city are evoked: water, shouting, bells, ball games...as well as music. Renowned for Vivaldi and Monteverdi, this place has always held a special affection for musicians. Do not expect a conventional Barcarolle, however. Only criticism is that it is all too short.
Christmas Past, Christmas Present (1991) by Judith Bingham is supposed to present “the deep feelings and symbols of childhood Christmases.” Despite some imaginative pianism, I feel that there is little impression of the Season here. On the other hand, they would make a remarkable set of Preludes.
The present pianist commissioned Betty Roe’s A Mystery of Cats back in 1994. Both musicians are fond of their tabbies. Three movements out of five offer impressions of skittishness, mystery, and playfulness of three feline creatures, named Reg, Rosie, and Tom, respectively. They are delightful character sketches. Hopefully, Jacobs will record the complete set soon.
The short Lullaby for Owain (2016) by Sally Beamish is billed as being a miniature set of variations: I did not find it particularly inspiring or soporific.
My “big discovery” on this new disc is Raie Da Costa (1905-34). She was a South African-born pianist celebrated for her blend of classical and jazz styles. After moving to London in 1924, she recorded for Parlophone and HMV. The two pieces heard here are taken from her collection Modernistic Pieces. The first, a Gigue, gently bounces along with “an infectious momentum” whilst Moods is a fusion of a waltz, foxtrot, and the blues, providing the listener with the 1920s “full flapper mode” experience – “hectic and carefree.”
Liza Lehmann’s six movement Cobweb Castle conjures wintry nostalgia and fairy-tale whimsy. The two movements given here highlight her atmospheric touch. Fly Away, Ladybird has a playful charm, echoing the nursery rhyme’s urgency whilst Evensong offers gentle melancholy and lyrical warmth, with hints of Elgar’s spirit throughout.
For details of Peter Jacobs please see my earlier view of his British Piano Collection No.1, on these pages, here.
The liner notes by the pianist provide a clear introduction to this music, nonetheless the dates of the composers should have been included in the track listing or the text.
This disc offers an excellent selection of British piano works by women. The playing displays understanding, lyrical charm and rhythmic verve. Not all these works resonate: some are underwhelming, but overall, the collection demands exploration of this rarely heard repertoire reflecting character, wit, and emotional depth.
Track Listing:Ethel Smyth (1858-1944)
Piano Sonata No. 3 (1877)
Piano Sonata No. 2 (1877)
Elizabeth Maconchy (1907-94)
A Country Town (excerpts) (1945)
Grace Williams (1906-77)
The Silent Pool (1932)
Helen Grime (b.1981)
The Silver Moon (2015)
Madeleine Dring (1923-77)
Colour Suite (1963)
Judith Bingham (b.1952)
The Moon Over Westminster Cathedral (2003)
Amy Woodforde-Finden (1860-1919)
Indian Love Lyrics (excerpts) (1903)
Cecilia McDowall (b.1951)
Vespers in Venice (2002)
Judith Bingham
Christmas Past, Christmas Present (1991)
Betty Roe (b.1930)
A Mystery of Cats (excerpts) (1994)
Sally Beamish (b.1956)
Lullaby for Owain (2016)
Raie Da Costa (1905-34)
Gigue (1930)
Moods (1930)
Liza Lehmann (1862-1918)
Cobweb Castle (excerpts) (1908)
Peter Jacobs (piano)
rec. 16 September 2024; 26 January 2025, Wyastone Concert Hall, Monmouth
Heritage HTGCD 126
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