Early One Morning in Kensington: Music for flute and piano

More than fifty years ago, when I fondly and mistakenly imagined that I might become a composer, I found a remarkable set of books by Ebenezer Prout about composition in a second-hand bookshop in North Wales. I invested in them, and still have them, sad to say largely unread. He is a name that drifts through the history books. This English musicologist, critic, composer and teacher with a Dickensian name, has precious few recordings to his credit. There are a CD of the Clarinet Sonata and a YouTube video of his Symphony No.4: not much to base an appreciation of his achievement.

The present Sonata in A major for flute and pianoforte, op.17 dates from 1882, but as the liner notes are correct in pointing out, there is nothing here that could not have been written in 1832. The models for this essay would include Haydn and Schubert, but hardly Mendelssohn. After an imaginative opening Allegro con anima, the flautist and pianist engage in a Romanza, an operatic “scena’ which is the most rewarding part of this Sonata. The final Rondo is a delight. This music is not as dry as dust as may be expected from a pedagogue, but is charming, often light-hearted, and downright enjoyable.

Frederic Archer (1838–1901) was a British organist, conductor, and composer who, in 1895, founded the Pittsburgh Symphony Orchestra. His undated Duo Concertante for flute and pianoforte is a genuine dialogue between equal partners. Although completed around the same time as Prout’s Sonata, this piece feels more modern and timeless.

The most important work on this CD is Edward German’s delightful Suite for flute and piano. It dates from 1892. For those who decry English Victorian music, this is a revelation. To be sure there are hints of Arthur Sullivan and even Elgar. I have noted before that there are one or two intimations of Malcolm Arnold in the opening Valse gracieuse and elsewhere! The heart of the Suite is the Souvenir, which has considerable depth and regret. Was it a love-song? I like the final Gypsy Dance which is pure invention having no relation to Romany melodies and rhythms but appears to be a tongue in cheek caricature. It is fun.

German’s Romance (1892), Intermezzo (1894), and Saltarello (1889) all for flute and pianoforte could be construed as another Suite. The three numbers go well together and make a satisfying whole. The first two movements are a subtle balance of “wistful charm” as well as moments of “greater passion.” The Saltarello, which Howell informs us is really a Tarantella is a barnstorming energetic dance. It makes a good finale to the “Suite” and would make a splendid encore.

The Old English Melody is a “spin-off” from German’s 1901 incidental music to English Nell, a play by Anthony Hope, author of The Prisoner of Zenda, and Edward Rose. German derived a concert overture and three dances from the score. Significant use of the tune Early One Morning appears in the overture, and this is replicated in the present offering, but is more thoughtful.

Edward German’s Savoy Opera A Princess in Kensington (1903) has a complex and wayward plot. It could be summed up as a story of English fairies protesting a royal marriage between Princess Zara and Prince Albion, fearing it will end their reign. They enlist Puck and mischievous spirits to sabotage the union, but love prevails. The opera blends Edwardian fancy with folklore, fantasy, and comic charm. It was never deemed to be as successful as Merrie England or Tom Jones. I was unable to find a recording of the full stage work. The mysterious composer Henri Leclaire (was this a pseudonym?) wrote a Fantasia on Themes from this operetta. He uses a couple of ‘hit’ numbers including, “Seven o’clock in the morning,” and the hornpipe “He was a simple sailor man.” It ends with a “vivacious coda.” This is a pleasing novelty that could easily find a place in the repertoire of flautists; however, I doubt that the opera will be revived any time soon.

The playing by Gilberto Fornito (flute) and Christopher Howell (piano) is sincere and never patronising. The recording is first-rate and the liner notes by Howell are excellent, giving all the detail needed to enjoy this interesting repertoire.

This entertaining CD explores rare English flute and piano music. Prout’s Flute Sonata, though stylistically conservative, reveals charm and operatic flair. Frederic Archer’s Duo Concertante offers a more modern sensibility, while Edward German’s Suite and companion pieces blend Victorian elegance with wit, pathos, and dance-like vitality.

Track Listing:
Ebenezer Prout (1835-1909)
Sonata in A major for flute and pianoforte, op.17 (1882)
Frederic Archer (1838-1901)
Duo Concertante for flute and pianoforte (??)
Edward German (1862-1936)
Suite for flute and pianoforte (1892)
Romance for flute and pianoforte (1892)
Intermezzo for flute and pianoforte (1894)
Saltarello for flute and pianoforte (1889)
Old English Melody (“Early One Morning”) for flute and pianoforte (1901)
Henri Leclaire (Late 19th Century)
Fantasia on Themes from Edward German’s Savoy Opera “A Princess in Kensington” (1903)
Gilberto Fornito (flute), Christopher Howell (piano)
rec. 2023 Studio of Griffa e Figli, Milan, Italy
Da Vinci Classics CO1086