Introducing Patrick Hadley’s The Trees So High (1931) Part II

The Trees so High was completed during 1931. This was shortly after Hadley had withdrawn his application for a lectureship at Armstrong College, Newcastle upon Tyne. He was concerned that this position would limit his time for writing music.

It is well known that the composer and conductor Constant Lambert (1905-51) had a low opinion of folk song as the basis for symphonic music. Anecdotally, he once stated that he considered that “the whole trouble with a folk song is that once you have played it through there is nothing much you can do except play it over again and play it rather louder.” William Mann (Sleeve Notes Lyrita SRCS 106, 1979) suggests that this comment may originally have been directed at Delius’s Brigg Fair. Eric Wetherell (1997, p.27) ponders that “It may not be too fanciful to assume that as an admiring pupil of Vaughan Williams, Paddy may have wanted to attempt something that his friend [Lambert] believed to be impossible” - a folk-symphony.

The completed score was dated “Heacham February 28,1931” and it was published by Oxford University Press the following year. The piece lasts for about 35 minutes.

The words of The Trees were taken from the Oxford Book of Ballads, edited by Arthur Quiller-Couch (1910). Hadley makes many changes and cuts to the text. Some of these alterations derive from the version of the song printed (alongside the tune) by Cecil J. Sharp and Charles L. Marson in their Songs of Somerset (c.1900, p.30f)

The ballad, The Trees so High, tells of a young man who was forced into marriage, aged only sixteen years of age. By seventeen he was a father, and he was dead and buried the following year. The narrator of the text would appear to be the lad’s wife, despite Hadley’s use of a baritone soloist.

The Trees so High is effectively a choral symphony. It has been likened in over-arching form at least, to Beethoven’s Choral Symphony (1822-24) and Mendelssohn’s Lobegesang (1840), in that the voices do not appear until the final movement. Furthermore, Strommen (2015, p.160) notes that The Trees is scored for a large orchestra, large mixed chorus, and baritone soloist “redolent of Delius’ s Sea Drift.”

In a detailed note to the vocal score, Hadley explains:

“This work…has four linked movements of which the first three are purely orchestral. They may be said to resemble three independent brooks which flow into one stream at the beginning of the last movement.”

The four movements are: I. Adagio ma non troppo, II. Andante tranquillo, III. Vivace and IV. Adagio.

Hadley continues with details about the formal parameters of The Trees:

“The first three movements are mainly constructed on the conventional symphonic plan, but with recurring thematic material, particularly those parts which are derived from phrases in the original air. The moods and ideas underlying the work arose out of this ballad and it tune, while the Introduction itself (of which the themes are structural to the entire work) owes its conception to the impression left upon the mind of the general shape and outline of those very trees “so high” which loom up all around in the imagined landscape amid which this simple country tragedy is set.”

The entire symphonic ballad could owe a considerable formal debt to Delius’s Brigg Fair (1907). This English Rhapsody was inspired by an old Lincolnshire folk song. Percy Grainger had discovered the tune and brought it to Delius’s attention. It can be analysed in more than a few ways, but a good rule of thumb would be to see it as a loose series of variations, on the folk tune. It does not always depend on the “found” song but is often athematic. Like The Trees, Brigg Fair is divided into four sections.

In 1976, Christopher Palmer’s monograph Delius: Portrait of a Cosmopolitan was published. This major study explored Delius’s own compositions in the context of other works being written in America, Scandinavia, Germany, France, and England. This wide-ranging review extended from music by Duke Ellington and George Gershwin to Peter Warlock and C.W. Orr. Palmer’s overview (p.181f) of Hadley notes that he was “profoundly influenced by Delius’s musical outlook…”  Palmer considers that The Trees so High and The Hills exemplify Hadley’s choral works. Sadly, they have “been allowed to fall into oblivion”: Both feature music that fuses “the free-ranging, folk song-oriented lyricism of Vaughan Williams…with a spirit of a more Delian nature-mysticism.” The result in each case is “original Patrick Hadley.”

Palmer continues, “Folk song colours the melodic countenance of [The Trees] yet the guiding force is Delius, the moving spirit rather than the letter.”  Despite it being inspired by a folk song, the:

“…real protagonist is nature - the shadows of high trees and high hills loom large over the proceedings, and the wonder of Hadley’s music is that it is constantly able to convey constant visual suggestiveness of these phenomena, these all-embracing backdrops, even when no specific allusion is being made to them…The generative force of The Trees…is profoundly Delian.”

In an earlier essay, considering Delius, RVW and folk song as stimuli, Palmer had suggested that “Hadley somehow contrives to reconcile these often-conflicting influences into something refreshingly strong and distinctive; the whole is always more than the sum of its parts.” (Palmer, 1973, p.1107)

Campbell (2015, p.163) makes important contrasts and comparisons between Delius and Hadley. He considers that the “choral writing in The Trees is more varied in texture and vocal orchestration than in Delius.” Examples adduced include frequent division of the choir into more than four parts. On page 30 of the vocal score, to the words “To let the lovely ladies know/They may not touch and taste,” he expands the choir to S.S.A.T.T.B.B, the only moment he does this in the entire work. Also remarked is Hadley’s “more contrapuntal” vocal writing, “with frequent shifts between imitative and homophonic textures.” Another Delian characteristic can be found on page 30 of the vocal score: at the “moment of greatest intensity the chorus sings an unaccompanied passage before orchestra rejoins for the soft conclusion.” Similar events occur in Appalachia, Sea Drift and The Song of the High Hills. Campbell notes that two other examples of Delius’s impact are a few very high notes for sopranos and, in the coda, Hadley calling for the chorus to sing a chain of wordless “Ahs,” with the tenors and basses being required to go into head voice. (Think Koanga).

Finally, another similarity to Delius was Hadley’s suggestion in the score that “I have imagined the chorus seated throughout, and the soloist, if acoustic conditions allow, standing behind the orchestra but apart from the chorus, without an air of formality of apparent consciousness of his…own importance.” Delius called for a seated chorus in The Song of the High Hills and for a “discrete” soloist in his Appalachia.

The premiere performance of The Trees so High was given at a Cambridge University Musical Society concert on 10 June 1932, conducted by the composer. It was well-received by contemporary critics. Frank Howes (Monthly Musical Record, July 1932, cited Wetherall, 1997, p.29) wrote:

“The atmosphere is consistent throughout, and the work is equally beautiful in its larger outlines as in its smallest detail. It succeeds in being at once well organised and spontaneous. More than this, it is an important work beyond its intrinsic merits, great as they are, for it reveals a composer, hitherto known only for a few songs and small pieces, handling bigger music with such a sure touch.”

Recording

Two recordings of Patrick Hadley’s The Trees so High: Symphonic Ballad in A minor have been made. The first was for the remarkable Lyrita record label and dates from 1975. Eighteen years later, Chandos issued a new edition. See the discography below for details.

Conclusion

Sadly, then as now, Hadley’s work is rarely heard, “not through any lack of intrinsic merit but because…it failed to receive the right kind of promotion at the time when the musical climate was most favourable.” (Palmer, 1976, p.181). Since these comments, a considerable proportion of his catalogue has been recorded, if not often heard in the concert hall or on the wireless.

One explanation for the failure of Hadley’s music to become popular is that sometimes “he lacks the warm-hearted expansive gestures of a Vaughan Williams on the one hand, and the luxuriant subjectivity of a Delius on the other.” His style tends towards “austerity of texture, rather than lushness, understatement and a species of tough-fibred introspection rather than passionate self-revelation or assertiveness.” (Palmer, 1974, p.152).

Nonetheless, Patrick Hadley’s exemplars are never too far away in The Trees and other works. Not a complete ‘Delius-ite,’ his music is infused by the elder composer’s reflective nature mysticism as well as quite a few obvious technical fingerprints.

Discography

1. Hadley, Patrick, The Trees so High: Symphonic Ballad in A minor, Thomas Allen (baritone), Guildford Philharmonic Choir and New Philharmonia Orchestra/Vernon Handley with Finzi, Gerald, Intimations of Immortality: Ode for tenor solo, chorus and orchestra, Ian Partridge (tenor), Guildford Philharmonic Choir and Orchestra/Vernon Handley, Lyrita SRCD.238, 2007. Originally released on SRCS.106, 1979 (Hadley) and SRCS.75, 1975 (Finzi).
2. Hadley, Patrick, The Trees so High: Symphonic Ballad in A minor, with Sainton, Philip, The Island, David Wilson-Johnson (baritone), Philharmonia Orchestra and Chorus/Mattias Bamert, Chandos CHAN 9181, 1993.

Acknowledgements
Thanks to MusicWeb International where the biographical details of Patrick Hadley were first published during 2000.

With thanks to the Delius Society Journal Autumn 2023, No.174: 19-28 where this essay was first published.

Concluded

Introducing Patrick Hadley’s The Trees So High (1931) Part I

In his thesis, Jonathan Daniel Strommen Campbell (2015, p.9) suggests that the impact of Delius on the music of Patrick Hadley “is more often in his themes of nature mysticism and the nostalgic love of the landscape of Britain. But there are concrete, musical examples of Delius’s influence….”

In 1931, Hadley completed his first important essay, the Symphonic Ballad in A minor: The Trees So High. Despite not being either a pastiche or a parody of Delius, it exhibits several fundamental characteristics of the elder man.

This essay is not an analytical study, but an attempt to characterise various responses that include references to the music of Fred. Delius. I include a brief biography of Patrick Hadley, as well as an overview of his catalogue.

The Composer

Patrick (“Paddy”) Arthur Sheldon Hadley was born in Cambridge on 5 March 1899. His father, William Sheldon Hadley, was at that time a fellow of Pembroke College. His mother, Edith Jane, was the daughter of the Rev. Robert Foster, Chaplain to the Royal Hibernian Military School in Dublin.

Patrick studied initially at St Ronan's Preparatory School at West Worthing and then at Winchester College. The First World War interrupted his education. He enlisted in the army and was commissioned as a 2^nd Lieutenant in the Royal Field Artillery. He managed to survive unscathed until the last weeks of the war when he received an injury that resulted in his right leg being amputated below the knee. This had a profound effect on his confidence. It led him to drink more than was wise; alcohol functioned as relief for the considerable pain he was constantly in.

After the War, Hadley went up to Pembroke College, Cambridge. He was fortunate to study with both Charles Wood and the sadly undervalued English composer, Cyril Rootham. He was awarded Mus.B. in 1922, and an MA in 1925. Hadley then went to the Royal College of Music (RCM) in London. Here he came under the influence of Ralph Vaughan Williams for composition and Adrian Boult and Malcolm Sargent for conducting. He won the Sullivan prize in 1924, at that time the princely sum of £5 (about £250 now). His contemporaries at the RCM included Constant Lambert and Gordon Jacob.

Hadley became a member of the RCM staff in 1925 and taught composition. He became acquainted with Delius (see below), E.J. Moeran, Sir Arnold Bax, William Walton, Alan Rawsthorne and Herbert Howells. In fact, his friends were a litany of all that was best in English Music at that time.

In 1938 he was offered a Fellowship of Gonville and Caius College in Cambridgeshire and a position as lecturer at Cambridge University. A great deal of his time was spent administrating the music faculty. However, there was still time available for composition.

During the Second World War, Hadley deputised for Boris Ord (who was on active service) as conductor and director of the Cambridge University Music Society. There he introduced numerous works, including Delius' Appalachia and The Song of the High Hills. He was keen to promote a wide range of music - including the formation of a Gilbert and Sullivan Society.

Hadley was elected to the Chair of Music at Cambridge University in 1946. He retained this post until his retirement in 1962. Several of the students he taught have gone on to remarkable things: choirmaster and academic, Philip Ledger, conductor, choirmaster and organist, David Lumsden and the musicologist, Peter le Huray. In 1962 he retired to his house at Heacham. He wished to pursue his interest in folk song collection. Latterly he struggled with throat cancer, and this caused many of his activities to be suspended. Patrick Hadley died on 17 December 1973: he was 74 years old.

The Music

Patrick Hadley’s catalogue of published music is small. His best-known pieces are the anthems My Beloved Spake (1936) for choir and organ (or orchestra), and I sing of a Maiden (1936). His large-scale works include the present The Trees So High, (1931), and the cantata setting Keats’s La Belle Dame sans Merci, (1935). Hadley’s magnum opus is The Hills (1944), featuring his own text for soprano, tenor, baritone, choir, and orchestra. Other significant achievements include the incidental music for Sophocles’ Antigone (1939), One Morning in Spring: sketch for small orchestra (1942) and the cantata Fen and Flood (1955). In 2019, the early unpublished tone poem Kinder Scout (1923) was released on the Chandos label. One of his major tasks were arrangements made for the Caius Chorus. These extended from Verdi's Stabat Mater to Waltzing Matilda. As Eric Wetherell explains (1997, p.171), the list of these is “inevitably incomplete. [Hadley] dashed them off and later discarded them.”

Patrick Hadley absorbed a number of influences. He was a confirmed “Wagnerite” coupled with an appreciation of Debussy and Ravel. The impact of the latter is often heard in his orchestration and “harmonic colouring” (Wetherell, 1997, p.51). It is hardly surprising that his composition teacher at the RCM, Vaughan Williams, had a bearing on his style. Nevertheless, Hadley never fully subscribed to the folk song revival. His works were never simply “fantasias” on folk tunes, played again, louder. He often used the musical characteristics of folk song but developed them with subtlety and originality. Hadley’s compositions are typically lyrical in sound and rarely rely on angular melodies or sharp dissonances for effect. Modernist techniques derived from Schoenberg and the Second Viennese School and their post-War successors, find no place in his achievement. 

Another crucial influence on Hadley was the landscape, especially the Fen Country, the Peak District, and parts of Ireland. Nature mysticism was a characteristic he shared with Delius.

Hadley and Delius

Eric Wetherell (1997, p.25f) explains that Hadley first met “the composer whose music always meant so much to him” at the Delius Festival in London held during October 1929. Delius was on one of his rare trips to England. He was staying in the Langham Hotel, Langham Place. Composer and impresario, Balfour Gardiner took Hadley to the hotel to meet him. Wetherell explains that the following spring, during the Easter Break, he contrived to visit Delius at Grez-sur-Loing, once again in the company of Balfour Gardiner. Eric Fenby (1936, 1981, p.92f) recorded that “it was decided that we should bottle the white wine, so Balfour Gardiner with boyish enthusiasm, sat on a log pouring out the wine…whilst Hadley corked [the bottles] with a machine, and I wired them.” And then there was “a dangerous escapade involving the removal of an unsightly branch overhanging the river.” (Wetherell, 1997, p.25)

Hadley’s chief service to Delius was his recovery of the full score holograph and orchestral parts of Koanga. It had been taken to London during 1914 and was subsequently mislaid. That said, there seem to be various versions of this story, involving other people. Giving Hadley the benefit of the doubt, it was found by him in 1930. He explains in a letter to William Randall:

There is not much to tell about my running to earth the score of Koanga. I had been staying at Grez where I managed to elicit all the remembered data about when & where it was last seen et cetera. I forget most of the details, but I do remember putting two & two together and putting the chances fairly high that it might be amongst the extensive stock of the Goodwin & Tabb Hire Library. I happened to be in constant touch with this Firm & its personnel, so on return to London I hastened to 34 Percy Street W.C.1, their then premises, and expatiated the situation. They wouldn't let me search in person, but they put 2 or 3 men onto it who laid their hands on it after a weekend's hunt. I post-hasted over by that night's boat and delivered it the following mid-day. (Letter from Hadley to William Randel, 24 December 1962, cited Randel, 1971, p.153).

 

Wetherell elaborates the story by explaining that Hadley in fact made two trips to Grez, the first with the parts and a second two weeks later with the full score. (Wetherell, 1997, p.26).

On 23 April 1930, Jelka Delius wrote to Percy Grainger: “We had an amusing visit from Balfour and Patrick Hadley, the young composer, whom we liked very much.” She recounted to Grainger the story of the recovery of the Koanga score but suggested that Peter Warlock had found the parts and that May Harrison had brought over the score when she visited Grez to play through the Violin Sonata in the presence of Delius. (Carley, 1988, p.365). It is a mystery that may never be fully resolved.

Finally, Balfour Gardiner and Hadley were due to visit the Delius household again in the spring of 1932: this had to be abandoned because of an outbreak of influenza at Grez.  

Bibliography:

1. Campbell, Jonathan Daniel Strommen, The Choral Music of Frederick Delius (1862-1934) And its Influence on the Choral Music of Early Twentieth-Century British Composers: A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science, Fargo, North Dakota, 2015.
2. Carley, Lionel, Delius: A Life in Letters, 1909-1934, Scolar Press, Aldershot, 1988.
3. Fenby, Eric, Delius as I Knew Him, Dover Edition, London, 1936, 1981.
4. Palmer, Christopher, “Patrick Hadley: A Note on the church music,” Musical Times, November 1973.
5. Palmer, Christopher, “Patrick Hadley: The Man and His Music,” Music & Letters, April 1974.
6. Palmer, Christopher, Delius: Portrait of a Cosmopolitan, Duckworth, London, 1976.
7. Randel, William, “‘Koanga’ and its Libretto,” Music & Letters, April 1971.
8. Wetherell, Eric, Paddy: The Life and the Music of Patrick Hadley, Thames Publishing, London, 1997.

Acknowledgements

Thanks to MusicWeb International where the biographical details of Patrick Hadley were first published during 2000.

With thanks to the Delius Society Journal Autumn 2023, No.174: 19-28 where this essay was first published.

To be continued…

A Happy Easter

To All Readers and Followers of

'The Land of Lost Content'

 

Easter Week

See the land, her Easter keeping,

Rises as her Maker rose.

Seeds, so long in darkness sleeping,

Burst at last from winter snows.

Earth with heaven above rejoices;

Fields and gardens hail the spring;

Shaughs and woodlands ring with voices,

While the wild birds build and sing.

You, to whom your Maker granted

Powers to those sweet birds unknown,

Use the craft by God implanted;

Use the reason, not your own.

Here, while heaven and earth rejoice,

Each his Easter tribute brings–

Work of fingers, song of voices,

Like the birds who build and sing.

Charles Kingsley

Charles Kingsley was a Victorian clergyman, novelist, and social reformer whose restless energy informed both his writing and his public life. Born in 1819, he combined a preacher’s moral urgency with a storyteller’s instinct, producing works such as The Water-Babies and Westward Ho! that blended adventure with ethical reflection. Kingsley championed sanitary reform, workers’ rights, and educational access, believing Christianity demanded practical action. His prose often carried a bracing, outdoor vitality, shaped by his love of nature and science. While some of his prejudices reflect the limitations of his time, his commitment to social improvement and imaginative engagement left a distinctive mark on nineteenth-century culture. He died in 1875, aged 55 years.

Kingsley’s poem Easter Week connects Christian resurrection imagery with the natural renewal of spring, presenting the landscape itself as a liturgical participant whose awakening mirrors Christ’s rising. In its closing exhortation, the poem shifts from observation to moral appeal. It urges humans, who are endowed with reason and creative agency, to offer their own “Easter tribute” through purposeful, harmonious work that echoes the instinctive artistry of the birds.

Note on Vocabulary: A "shaugh" is a traditional term for a thicket or a small cluster of trees, derived from the Old English sceaga.

 

Bach: Inventions and Sinfonias played by Yuan Sheng

Like countless hopeful pianists stuck somewhere around Grade 5¾, I have battled my way through the complex counterpoint of a few of J.S. Bach’s Inventions and Sinfonias. The “conventional wisdom” or the “word on the street” among tyros, is that the Inventions are “easier” or “less daunting” to play than the Sinfonias. In fact, only a handful of the former are within the gift of the determined amateur. And even then, there is an enormous difference between simply plonking out the notes and giving a calculated performance that fully respects Bach’s genius.

The fifteen two-part Inventions and the fifteen three-part Sinfonias were written for JSB’s son Wilhelm Friedemann between 1720 and 1723. They were originally titled Praeambulum and Fantasias, respectively. Bach later revised them into a unified cycle arranged in ascending keys. The famous Bach scholar Spitta explains, "The form of the Sinfonias in their barest outline is founded on that of the Italian instrumental trio, as settled by Corelli and diligently cultivated by Albinoni, Vivaldi, and many others: it had also become widely known throughout Germany." Whereas, in his view the Inventions “have a remote resemblance to the form of the Italian [Da Capo form] aria.” Bach stated that his overall ambition was to “show a plain way to lovers of the clavier to play clearly and well in two and three parts, and to attain above all to a cantabile manner of playing."

I remember reading in the introduction to an edition of Bach’s Inventions and Sinfonias that I once owned, that playing them well is not simply a matter of technical skill. The greatest challenge lies in the way Bach writes several independent parts at once. Each line needs to speak clearly, like people talking together rather than merging into a vague wash of sound. The rhythm must carry the music forward with steady momentum, but it should never sound mechanical: players must avoid the “sewing-machine effect.” The music needs room to breathe. In terms of touch, Bach’s style often calls for notes to be played with a light separation rather than smoothly joined, though legato is used when the phrase demands it. Ornamentation – those pesky trills, mordants and turns woven into the melody - must be added with historical accuracy, precision, and taste, becoming part of the expressive fabric rather than mere decoration. Above all, each Invention and Sinfonia has its own mood and personality: there is a danger that they all begin to sound alike. A successful performance makes the music feel alive and integrated. In this way, the player moves beyond mere execution of notes to discover the deeper structure and dramatic power that make these pieces such enduring treasures.

Yuan Sheng’s performance satisfies these criteria. His playing is characterised by a restrained, clear, and nuanced approach - a style that critics see as reflecting his training under the celebrated Bach specialist, Rosalyn Tureck. Sheng uses the modern piano's tonal palette and mechanical articulation without compromising the integrity of the Baroque style.

As added value on this disc, Sheng has included embellished versions of seven selected Inventions and Sinfonias. These are likely to be based on historical variants found in 18th-century manuscripts specifically those by Bach’s student Heinrich Gerber.

Yuan Sheng was born in Beijing where he began piano lessons with his mother at the age of five. He went on to study at the Central Conservatory of Music before continuing his training at the Manhattan School of Music, where he completed both bachelor’s and master’s degrees. Sheng has won prizes at international competitions in Marsala, Erice, Jaén, and Havana. In 2004, he received the Artist International’s Rubinstein Memorial Award, debuting at Carnegie Hall’s Weill Recital Hall. Since then, he has performed worldwide, collaborating with leading orchestras and conductors. At present he teaches at the Central Conservatory of Music in Beijing, his alma mater.

The liner notes, by Raymond Erickson, provide a major essay on the Inventions and Sinfonias from a historical and analytical perspective. They conclude by reminding the listener that they should not be viewed simply as instructional pieces but as music deserving a more prominent place on the concert stage than they presently enjoy.

Track Listing:
Johann Sebastian Bach (1685-1750)
Inventions BWV 772-786 (1720-23)
Sinfonias BWV 787-801 (1720-23)
Inventions/Sinfonias BWV772a; 789; 790;793;795;797;799 (Embellished versions).
Yuan Sheng (piano)
rec. 12-13 August 2023, Beijing Film Academy Recording Studio, Beijing, China.
Piano Classics PCL10327

With thanks to MusicWeb International where this review was first published. 

Francis Jackson: Meditation on Love Unknown for organ.

For Christians of various denominations, the Palm Sunday liturgy begins with the Blessing of the Palms and a festive procession into the church, physically re-enacting Christ's entry into Jerusalem; yet, once inside, the atmosphere shifts toward the sombre reality of the Cross. This transition is marked by the dramatic chanting of the Passion Narrative, where the congregation takes on the voice of the crowd, moving from shouting "Hosanna" to "Crucify him." The day is defined by this tension with the red vestments representing both royalty and sacrifice and the blessed palm crosses serve as a year-long devotional reminder that the path to the Resurrection is inseparable from the suffering of Holy Week.

Samuel Crossman (1623-1684) was an English clergyman and hymn writer, best known for the poem "My Song Is Love Unknown." Born in Suffolk, he studied at Pembroke College, Cambridge, obtaining a Bachelor of Divinity. His early career was marked by religious shifts; he initially served both Anglican and Puritan congregations but was expelled from the Church of England subsequent to the 1662 Act of Uniformity.

During this period of exile, Crossman published The Young Man’s Meditation (1664), which contained his most famous hymns. He eventually conformed to the established church, was re-ordained in 1665, and served as a Royal Chaplain. His career culminated in his appointment as the Dean of Bristol Cathedral in 1683; he died just weeks into the following year and was buried in the cathedral’s south aisle. While his poetry was overlooked during his lifetime, "My Song is Love Unknown" gained immense popularity in the 19th and 20th centuries, particularly when paired with John Ireland's 1919 tune, Love Unknown.  

My song is love unknown,

my saviour's love for me;

love to the loveless shown

that they might lovely be:

but who am I, that for my sake

my Lord should take frail flesh and die?

He came from heaven's throne

salvation to bestow;

but they refused, and none

the longed-for Christ would know:

this is my friend, my friend indeed,

who at my need His life did spend.

Sometimes they crowd His way

and His sweet praises sing,

resounding all the day

hosannas to their king:

then 'crucify' is all their breath,

and for His death they thirst and cry.

Why, what has my Lord done

to cause this rage and spite?

He made the lame to run,

and gave the blind their sight:

what injuries! Yet these are why

the Lord most high so cruelly dies.

They rise and they must have

my dear Lord done away;

a murderer they save,

the prince of life they slay!

Yet willingly, to shame he goes

that He His foes, from this, might free.

Here might I stay and sing

of him my soul adores;

never was love, dear King,

never was grief like yours!

This is my friend in whose sweet praise

I all my days could gladly spend.

The hymn describes how Jesus showed love even when people turned against him. It highlights the gap between his kindness and the way he was rejected by the world. By the end, the writer promises to be a faithful follower, expressing surprise that a "friend" would go through such suffering to help people who did not love him back.

There is a frequent misconception regarding the origins of John Ireland’s most famous hymn tune, "Love Unknown," specifically concerning who prompted its creation and the timeline of its birth. While Martin Shaw is widely remembered as the music editor of the influential 1925 volume Songs of Praise, it was his brother, Geoffrey Shaw, who played the pivotal role in the tune's inception. The legendary "scrap of paper" incident, described in a Daily Telegraph (5 April 1950) letter from a certain Donald Ford, recounts how Ireland composed the melody in fifteen minutes during a lunch with Geoffrey Shaw. While this story is frequently associated with the 1925 publication of Songs of Praise, the tune’s appearance in the 1920 Public School Hymn Book proves the meeting occurred before that publication. Since Geoffrey Shaw served as the editor for that earlier volume, the lunch described in the Telegraph must have taken place around 1919. This five-year discrepancy confirms that the tune was a product of the post-war period rather than the mid-twenties and credits the correct Shaw brother with its commission.

Dr Francis Jackson was a towering figure in English cathedral music. A former chorister at York Minster under Edward Bairstow, he returned there after wartime service and eventually succeeded his former teacher as Master of Music, a post he held from 1946 to 1982. Much of his long career was devoted to composition, particularly for organ and choir. Living to the remarkable age of 104, he remained a steadfast advocate of the Anglican musical tradition until the very end of his life.

Francis Jackson’s "Meditation on Love Unknown" is a reflection on John Ireland’s hymn tune. Published in The Oxford Book of Lent and Easter Organ Music (2013), it is a gently contemplative work that eschews Jackson’s more harmonically adventurous style. Ireland’s well-loved melody is woven into the fabric of the piece, creating a bittersweet, and hauntingly beautiful mood. Little in this piece engages with the darker lyrics of Crossman’s hymn in which the poet reflects on the crowd's fickle adulation and their eventual shouts of "Crucify." Despite this over the years it has become a staple voluntary for Passiontide and Holy Week.

Listen to Francis Jackson’s "Meditation on Love Unknown" on YouTube, here. Recorded on 8 March 2021, during the Covid-19 lockdown, by James Turner on the Casavant/Walker Technical/Peragallo hybrid organ of St. Stephen's Episcopal Church, Armonk, New York.

 

Johann Philipp Kirnberger: La Lutine for piano

Umpteen years ago, I learnt to play (badly) Johann Philipp Kirnberger’s short piano piece La Lutine. Translations vary, but my score carried the subtitle The Impish Girl. The word lutine derives from the Old French 'lutin' meaning a hobgoblin or mischievous spirit, and may even connect with older regional terms for household spirits, such as the Roman Lares. In French folklore a 'lutin' is a small supernatural creature - playful, sometimes helpful, sometimes a trickster - something between a brownie, a pixie, and a goblin. The definite article and feminine ending suggest a “female imp, sprite, or mischievous fairy”. But The Impish Girl suits me perfectly.

The reference books explain that Johann Philipp Kirnberger (1721–1783) was a German composer and influential music theorist from Saalfeld, Thuringia. Trained initially at home, he studied organ with Kellner, violin with Meil, and counterpoint with Gerber, who introduced him to J. S. Bach; Kirnberger subsequently became one of Bach’s pupils. After periods in Leipzig and ten years in Poland, he returned to Germany, continued violin studies in Dresden, and in 1751 joined Frederick the Great’s Berlin chapel. From 1758 until his death, he served as Capellmeister to Princess Amalie of Prussia, who was Frederick the Great’s sister. She was a patron of the arts, as well as a composer herself. Over the decades he taught notable pupils such as Johann Abraham Peter Schulz, Carl Friedrich Christian Fasch, and Carl Friedrich Zelter, while pursuing extensive theoretical research. His major theoretical work, Die Kunst des reinen Satzes (1771-79), remains an enduring contribution with specialists, though he also wrote the music articles for Sulzer’s Theorie der schönen Künste.

As a composer he was more competent than inspired; his fugues are his most distinguished works. He edited collections by Graun and Hassler, and many of his manuscripts survive in the Berlin’s State Library. Kirnberger’s argumentative temperament and dogmatic manner made him unpopular among colleagues.

La Lutine offers a rare glimpse into Kirnberger’s lighter, more imaginative side as a composer. While history often remembers him as a rigid guardian of J.S. Bach’s strict contrapuntal methods, this keyboard character piece, published in 1763, captures the playful spirit of the Galant style. Moving away from the dense, academic textures of his ‘celebrated’ fugues, Kirnberger uses this work to paint a musical portrait of a nimble, unpredictable “Imp.”

The composition is defined by its brisk articulation and rhythmic wit. Written in a bright A major, it relies on detached eighth notes and sudden melodic leaps to evoke the darting movements of a sprite. It stands as a testament to the "theory of affects," where music was expected to represent specific human or mythological characteristics. Despite its brevity, the piece demands a sophisticated technique, requiring the performer to balance lightness of touch with precise ornamentation.

Today, La Lutine remains one of Kirnberger’s best known pieces, frequently appearing in intermediate piano curricula - about Grade 4 in the ARCM listings. It serves as a bridge between the Baroque and Classical eras, proving that even the most dogmatic theorist possessed the grace and humour to compose music of pure, unpretentious charm.

The piece was published in Clavierstücke mit einem practischen Unterricht für Anfänger und Geübtere edited by Friedrich Wilhelm Marpurg, Sammlung 3, No. 4, Berlin, 1763. However, it has appeared in many albums of piano music since that time.

Listen to Johann Philipp Kirnberger’s  La Lutine on YouTube, here.

 

It's not British, but...The Best of Martin Jones: Discover Jean Roger-Ducasse

This new release from Nimbus is a sampler. In 2015, Martin Jones recorded the complete piano works of Jean Roger-Ducasse on three discs (NI 5927). Sadly, I missed this collection, which was extensively reviewed here, and here, on MusicWeb International.

For many listeners, this French composer will be recalled for a single work: the Pastorale for organ, completed in 1909. More adventurous folk will have come across the two Marco Polo discs of a selection of his orchestral music, including his masterpiece Au Jardin de Marguerite. These were issued in 1994.

A few biographical notes will be of interest. Roger-Ducasse was born in Bordeaux on 18 April 1873. He initially studied with Émile Pessard and André Gédalge and then, critically, with Gabriel Fauré. Success came when he won second prize for his cantata Alcyone in the Grand Prix de Rome. Much of his career was devoted to teaching, succeeding Paul Dukas as Professor of Composition at the Paris Conservatoire in 1935. Some of his distinguished pupils included Jacques Ibert, Jéhan Alain and the sadly ignored Scotsman, Francis George Scott as a private pupil.

His catalogue is wide-ranging and includes the opera Cantergril (1931) and several major orchestral works, including the Sarabande (1907), the Nocturne d’Hiver (1921) and the Epithalame (1923). There were chamber works, motets, songs, and piano music. A recording of his large-scale Mahler-esque Ulysse et les sirènes (1937) for chorus and orchestra remains a desideratum for his admirers. Jean Roger-Ducasse died at Le-Taillan-Médoc near Bordeaux on 19 July 1954, aged 81 years.

Several things inform Roger-Ducasse’s style. He absorbed a great deal from Bach, especially in the use of counterpoint, and this discipline gives his music a strong inner structure even when the surface becomes highly decorated. He did not try to integrate modernist tendencies into his compositions. Whilst not eschewing contemporary harmonies he used them more for interest than for shock. His music is rarely aggressive or bitter. Above all, stands the influence of his former teacher, Gabriel Fauré, from whom he inherited ‘classical restraint’ though Roger‑Ducasse often pushes rhythmic complexity much further than his mentor ever did.

The two above mentioned reviews contain detailed analysis, which I will not repeat here: I will remark on a few highlights (for me).

I understand that the Barcarolle (1906) was originally written for the piano but was later issued for harp dedicated to Alphonse Hasselmans. Listening to this delightful piece, the listener will be aware of the influence of Fauré. The “velvety textures” offer a wonderful, if complex, meditation on a not too relaxing trip on a Venetian gondola. Barcarolles are usually composed in compound time (6/8 or 12/8); Roger-Ducasse has set the basic pulse as 3/4 but has laid groups of triplets above the left-hand accompaniment, giving the effect of 9/8 undulation. The rhythmic structure becomes more complex, and the there is a considerable climax that does not suggest La Serenissima on anything other than a stormy (or passionate) night.

The Six Preludes date from 1907. Unlike Claude Debussy’s Préludes which were completed three years later, Roger-Ducasse does not attempt to provide a programme, literary or topographical. Each Prélude uses a limited amount of material, but is subject to "the logical unfolding, with flexibility and imagination, of a melodic, harmonic, or rhythmic motif, clearly established in the first measures of each piece" (M. Emmanuel, programme note). This thematic concentration is constantly enhanced by interesting harmonies. Martin Jones plays nos. 2, 5 and 6 here. The first performance of the complete cycle was on 13 January 1912, at the "Société Nationale," by the legendary French pianist, Marguerite Long.

Two numbers from Roger-Ducasse’s Four Études (1915) are sampled. The first, No.1 has all the hallmarks of Claude Debussy’s “Doctor Gradus ad Parnassum” from Children’s Corner. However, its middle section is infinitely more complex to play, with increased chromaticism and nods to modernist techniques. The second, a Fugue, opens lightly with a ‘très aimable’ theme derived from a children’s song. Despite being in ‘only’ two voices, this fugue (like many others) gets more complicated and technically difficult as it progresses. It balances the simplicity of the subject with demanding and dense episodes, stretto, and coda.

The Arabesque No.1 (1917) was dedicated to the violinist and friend of Maurice Ravel, Ms. Hélène Léon (Hélène Jourdan-Morhange). It is an elegant number that combines a succession of nimble motifs, flexible rhythms, and inventive harmonic and pianistic detail. Ostensibly in F-sharp major, it is chromatically wayward. Sadly, Martin Jones only played the first Arabesque here; No.2 was completed in 1919.

How anyone can play Roger-Ducasse’s Rythmes, also dating from 1917, I will never know. I followed this brilliantly played piece in the score: it is a thesaurus of rhythmic devices, made more complicated by a shower of accidentals. It is certainly not easily accessible to the average pianist. It would be a thoughtful and commanding encore for any recital.

Martin Jones needs little introduction to piano music enthusiasts. Born in 1940, he is one of Britain’s most versatile and prolific pianists, first receiving public attention on winning the Dame Myra Hess Award in 1968. His international career spans major concerto appearances, recitals, and broadcasts. Distinguished by his vast discography on Nimbus Records, he has recorded complete piano cycles by composers from Mendelssohn and Debussy to Grainger and Jean Françaix.

The liner notes are clear and informative. They include a good introduction to Roger-Ducasse’s life and work written by Rhys Ward, as well as detailed notes by Adrian Farmer on the present repertoire. They are, I believe extracted from the original 3-CD release.

After listening to this concise survey of Roger-Ducasse’s piano music, so imaginatively played, I feel that I should explore the full set, making up for lost time.

Track Listing:
Jean Roger-Ducasse (1873-1954)
Barcarolle (1906)
Six Préludes II. Très calme; V. D'un rythme capricieux et tender; VI. Très souple (1907)
Arabesques (1917)
Etude en Sol dièse mineur (1914)
Barcarolle No. 2 (1920)
Etude en Sixtes (1916)
Quatre Etudes I. Prélude; II. Fugue (1915)
Etude en La bémol majeur (1916)
Romance (1923)
Rythmes (1917)
Martin Jones (piano)
rec. 2014, Concert Hall of the Nimbus Foundation, Wyastone Leys, Monmouth
Nimbus NI 7744

With thanks to MusicWeb International where this review was first published. 

 

Introducing William Hurlstone Part II ‘The Recorded Legacy’

While the recorded legacy of William Hurlstone remains comparatively scarce, a reflection of a career tragically cut short, several specialist labels has ensured his most significant works remain accessible. This overview highlights key milestones in his discography, though it does not claim to be a comprehensive catalogue.

One of the earliest documented fragments of Hurlstone on record appears to be the "Intermezzo" from the Four Characteristic Pieces for Clarinet and Piano (1899). Performed by the celebrated clarinettist Thea King and pianist Thomas McIntosh, this track was included on a 1972 sampler entitled What Good is Recorded Sound? (Discourses ABC9), which showcased a diverse array of repertoire and performers.

A significant turning point arrived in 1979 when the Lyrita label issued the first album dedicated entirely to Hurlstone’s output. This landmark release (SRCS.100/SRCD.2286) featured the Piano Concerto and the Variations on a Swedish Air, with soloist Eric Parkin and the London Philharmonic Orchestra conducted by Nicholas Braithwaite. Lyrita further championed Hurlstone’s orchestral voice with a subsequent collection featuring the Variations on an Original Theme, The Magic Mirror, and the Variations on a Hungarian Air, once again featuring Braithwaite and the London Philharmonic (SRCD.208).

The chamber music has seen a steady, if gradual, accumulation of recordings. In 1981, Thea King returned to the Four Characteristic Pieces, this time accompanied by Clifford Benson for the Hyperion label (A66014), a program that contextualized Hurlstone alongside peers like Stanford, Ferguson, and Finzi. Two years later, the Tunnell Piano Quartet explored the larger-scale chamber forms with the Piano Trio in G and the Piano Quartet in E minor for Lyrita (SRCS.117/SRCD.2286). The Cello Sonata in D has also fared well; after an early 1986 recording by Charles and Susan Tunnell on the Bravura label (BVA 8621), the work received notable modern treatments from Andrew Fuller and Michael Dussek on Dutton Epoch (CDLX7102) and Lionel Handy and Jennifer Walsh on Lyrita (SRCD441).

The twenty-first century has brought a renewed focus on Hurlstone’s keyboard music. In 2010, Mark Bebbington released the premiere recording of the Piano Sonata on the Somm label (SOMMCD 097), pairing it with the massive D minor Sonata by Benjamin Dale. This was followed in 2016 by a more exhaustive undertaking from Kenji Fujimura, whose "Complete Piano Music" on Toccata Classics (TOCC 0289) provided the most thorough look at Hurlstone's solo output to date.

Hurlstone’s Bassoon Sonata has become a staple of the recorded wind repertoire, with fine versions available from soloists like Peter Musson on Continuum (CDD1079), and Daniel Smith on ASV (CD DCA 535). These releases along with the Phantasie for String Quartet on EM Records continue to flesh out the portrait of a composer whose potential was as immense as his life was short.

If you can only hear one CD…

This is a little bit of a cheat. It must be Lyrita’s remastered double CD release in 2007 of the above-mentioned albums (SRCD.2286). This allows the listener to hear two major orchestra works as well as two important pieces of chamber music.

The Concerto for Pianoforte in D major (1895) was a significant student composition that stands the test of time. It used Saint-Saëns’s Piano Concerto No.2 (1868) as a model. Listeners will discover nods towards Schumann, Brahms, Grieg and even Rachmaninov in these pages. Described in The Era (14 December 1895) as being “clever, melodious and agreeable” It contains “many brilliant and effective passages” for piano as well as there being much to admire in the orchestral accompaniments.

The Musical Times (October 1910) reported on the Variations on a Swedish Air which is “significant [for] the freedom of treatment adopted by the composer in this work. The subject theme is not so much a pedestal to a statue as a life-giving vein to living flesh, visible here and there. It is plainly traceable in the first few variations but is then lost to view while the composer is concerned with elaborating his own accompaniments and incidental ideas. Later it again becomes recognisable as snatches of it are brought into prominence, sometimes with vehemence and sometimes with delicate fancy. The statement of the simple and ingenuous theme is preceded by a weighty introduction, which foreshadows much of the independent material of the later movements. The high faculties of the composer, well-known through the medium of his chamber music, did not abandon him when he penned this composition. His resources are handled with mastery: the effect is there not for effect's sake, and, as usual, romance and beauty capture the senses while a characteristic academic flavour earns our esteem.”

Once again the Musical Times (January 1905) gave a good description of the Quartet in E minor for violin, viola, cello, and pianoforte (c.1904): “This opens with a robust theme, which is vigorously and tersely developed until the movement ends with a stormy Coda. The ‘Andante’ cantabile possesses charm of a tranquil kind, and the third number, ‘Vivace non troppo,’ has the light-heartedness of an Irish jig, and Irish idiom is still more apparent in a central section. The Finale is also full of verve, and the work, if making no pretensions to greatness, is decidedly pleasant.”

Finally, the Piano Trio in G major offers a sense of pure radiance. Spread across four movements, it balances a genial opening with a rhythmic vitality that keeps the music moving. A satisfactory adjective is “charming.” Rob Barnett at MusicWeb International has noted “a lilting Brahmsian embrace with an affectingly sentimental ‘Andante’ which serves as a prelude to a spring heel Dvořákian ‘Molto vivace’ and an uncloudedly happy Allegro comodo. Once again Hurlstone introduces and element of folk music. This time it is a Scottish melody that is heard in the finale as the “second subject.”  

Finally, if you can only listen to one work…

This is a difficult choice. Some would insist on the Piano Concerto; others may plump for the Magic Mirror Suite. I could be tempted by the Piano Sonata. However, I suggest the Phantasie Quartet for two violins, viola, and cello.

This holds significant historical weight as the winner of the inaugural Walter Willson Cobbett Competition held in 1905. This was the event that effectively created the "Phantasy" genre. This single-movement, through-composed form would become a hallmark of early 20th-century British chamber music. A fine edition of this work is included on the Bridge Quartet’ survey of the English Phantasy (EM Records EM CD025).

Beyond its historical status, Hurlstone’s Phantasie Quartet is remarkable for how much it compresses into its eight-minute duration: lyricism, rhythmic vitality, and masterful contrapuntal skill. As C. Twigg noted, (Liner notes) it is by “turns lyrical and dramatic, but also witty and playful.” The opening presents a haunting modal theme with a deeply "English" quality that foreshadows English pastoralism.

The Phantasie Quartet is also available on Cobbett's Legacy: The New Cobbett Prize for Chamber Music, Resonus Classics RES10243, with the Berkeley Ensemble.

Introducing William Hurlstone Part I

William Hurlstone (1876-1906) remains one of the great "what ifs" of the English Musical Renaissance. Though his career lasted just over a decade, his impact was considerable, especially in the development of 20th-century British chamber music. His primary legacy was the establishment of the "Phantasy" genre by winning the inaugural Walter Willson Cobbett Competition in 1905. This was a single-movement, through-composed form that became a hallmark for composers from Frank Bridge to Herbert Howells and Benjamin Britten.

A prodigy at the Royal College of Music, Hurlstone was a favourite pupil of the formidable Sir Charles Villiers Stanford. Famously, Stanford ranked Hurlstone’s natural genius above that of his classmates Ralph Vaughan Williams and Gustav Holst. Unlike the modernists who would follow, Hurlstone’s style was "sane" and disciplined: a synthesis of Brahmsian craftsmanship and a promising, "haunting" English lyricism.

Tragically, Hurlstone died of bronchial asthma at just 30, leaving behind a "rich treasure" of music that suggests a missed evolutionary step in British music history. He was not merely a provincial figure of the South London suburbs, but an urbane craftsman whose orchestral variations and chamber works justify his epitaph: "Music hath here entombed rich treasure but still fairer hopes.”

• Born at 12 Richmond Gardens, (now Empress Place) Fulham, London on 7 January 1876
• Encouraged by musical parents, he showed considerable talent from an early age.
• Began to compose aged only nine years.
• Suffered from chronic ill health with a bronchial condition which lasted his lifetime.
• Aged fifteen, he composed a Piano Trio, op.2, now lost.
• Entered the Royal College of Music (RCM) in 1894. Studied under Charles Villiers Stanford, Algernon Ashton and Edward Dannreuther.
• In May 1904, his Fantasie-Variations on a Swedish Air was premiered at the first Patron’s Fund concert.
• After leaving the RCM, Hurlstone conducted Musical Societies in South London. Worked as a piano teacher.
• Appointed accompanist to the Bach Choir in 1903.
• In September 1905, he joined the staff at the RCM to teach counterpoint and harmony.
• Hurlstone died on 30 May 1906, at his home in 23 Park Mansions, Prince of Wales Road, Battersea Park, London

Nine Selected Works

William Hurlstone’s catalogue spans orchestral music, chamber pieces for both strings and winds, piano solos, songs, part‑songs, and a number of now‑lost compositions. The Catalogue of Works prepared at the Royal College of Music outlines a creative life that began precociously: early piano pieces from the 1880s, followed by substantial chamber works such as the Two Trios, op. 2 and the Variations in G minor for clarinet, bassoon, and piano. By the mid‑1890s he had completed some major scores including the Five Dances for Orchestra and the Piano Concerto in D major. His output for wind instruments is especially distinguished. Despite its modest size, Hurlstone’s catalogue displays remarkable craftsmanship and expressive depth. All the works listed below are available on CD and/or streaming.

1. Piano Sonata in F minor (1894)
2. Concerto for Pianoforte in D major (1895)
3. Variations on an Original Theme in G minor (c.1896)
4. Four Characteristic Pieces for clarinet and pianoforte (1899)
5. Sonata in D major for cello and pianoforte (1899)
6. ‘The Magic Mirror’: Fairy Suite for Orchestra in 7 Parts, based on Snow White (1900)
7. Trio in G major for violin, cello, and pianoforte (1901)
8. Quartet in E minor for violin, viola, cello, and pianoforte (c.1904)
9. Phantasie Quartet for two violin, viola and cello, in A minor and A major (1905)

Further Reading

Sadly, there are few biographical studies of William Hurlstone. The most significant is the most recent. Christopher Redwood’s William Hurlstone: Croydon's Forgotten Musical Genius (Highbridge: Sequoia Publishing, 2015) is the definitive modern biography. It offers the most comprehensive look at Hurlstone’s life, his struggle with asthma, and a detailed discussion of his musical output. It is the go-to source for all interested in this composer’s life, times, and achievement.

The earliest significant contribution was Henry George Newell’s 30-page biographical sketch William Yeates Hurlstone: Musician and Man (London: J. & W. Chester, 1936) which was published by the composer’s sister, Katharine Hurlstone. It is a vital early source for personal anecdotes and the first attempt at a formal catalogue of his works.

Some years later, Katharine Hurlstone edited William Hurlstone, Musician (London: Cary, 1947). Appearing 41 years after the composer’s death, this remarkable collection of tributes and critical appreciations included a significant essay by his contemporary Thomas Dunhill titled "The Music of William Hurlstone."

Two more direct resources which provide overviews of the composer’s work are the entries in the Dictionary of National Biography (online version) written by Diana McVeagh and the current Grove’s Dictionary of Music and Musicians (online edition, 2001) was devised by Robert Pascall and updated by Jeremy Dibble.

One important historical article, "Hurlstone and his Work," was published in the November 1958 edition of The Musical Times. Reginald Nettel provided an important retrospective look at his legacy during a period when Hurlstone’s music was beginning to fade from the active repertoire and before its revival, beginning in the 1970s.

Of significant interest is the Catalogue of Works assembled by Katy Hamilton and published by the Royal College of Music in 2009. Divided into genres this resource provides information about the works’ history, publication, and contemporary performances. Each piece has details of reviews where found. There is a detailed chronology and supporting bibliography.

The RCM Holds many of Hurlstone's original autograph manuscripts, performance programmes from his time as a student, and college records.

The second part of this Introduction will examine the recorded legacy.

It's Not British, but...Karol Mossakowski and the Organ of Saint-Sulpice, Paris

It is many years since I heard the organ of Saint‑Sulpice in Paris. It was not at a service or a recital but an organist “practising.” The piece was Vierne’s Carillon sur la sonnerie du Carillon de la chapelle du Chateau de Longpont (Aisne) which is the ninth number in Book 2 of the Vingt-quatre pièces en style libre. The organist may have been Jean-Jacques Grunenwald.

The instrument is one of the most significant in Europe, if not the world. This large five manual organ was originally built in 1781 by François‑Henri Clicquot. After a less than successful rebuild between 1835 and 1845, it was remodelled and expanded by the legendary Aristide Cavaillé‑Coll. This instrument retains the five manuals and has one hundred stops. It is a symphonic organ that unites French classical tradition with a Romantic aesthetic. It remains one of the few instruments by Cavaillé‑Coll not to have electric action. The liner notes give the all-important specification.

The recital begins auspiciously with an inspiring performance of Dupré’s landmark Trois Préludes et Fugues, op. 7. This collection was sketched during the summer of 1912, whilst Dupré was preparing for the Grand Prix de Rome (which he later won with his lyric scene Psyché). Although given a performance at the Salle Gaveau, Paris in 1917, they remained unpublished until 1920. They are widely regarded as establishing the composer’s reputation. Each is dedicated to a recently deceased French organist: No. 1 in B major to René Vierne (younger brother of Louis Vierne, killed in WWI), No. 2 in F minor to Augustin Barié, and No. 3 in G minor to Joseph Boulnois (also killed in WWI).

An anecdote recounts that when Charles-Marie Widor first saw the score, he declared that the first and the third Preludes were “unplayable.” Indeed, even a cursory glance at the sheet music reveals formidable technical challenges: rapid tempos, intricate passagework, and demanding pedal parts. The first P&F (my favourite) is a regular “warhorse.” This is followed by the more restrained No.2 which some have suggested nods towards Claude Debussy, who was still living at this time. No.3, in contrast, has a magical “spinning wheel” Prelude and a ferocious Fugue that retains much of the momentum of the opening movement. This performance on the organ that Dupré once played is inspiring and exemplary.

Charles-Marie Widor’s Trois nouvelles pièces, op. 87 (1934), represents his final, reflective contribution to the organ repertoire, written at the age of ninety. These serve as a serene "swan song," dedicated to three of his former American pupils: Albert Riemenschneider, Charlotte Lockwood, and Frederick Mayer. If the listener is expecting the fireworks of his earlier symphonies for the organ, they will be disappointed. Widor has used a neo-classic economy to generate the mood of the three imaginatively titled movements: Classique d’hier, Mystique, and Classique d’aujourd’hui. He has used chromatic harmonies, sometimes creating an impressionistic mood. Karol Mossakowski brings out the structural elegance uncluttered by overt virtuosity (nevertheless, the last piece is no cinch) of this music with this pensive farewell to the French Symphonic tradition the Widor himself helped create. Absolutely beautiful.

I listened to Jean-Jacques Grunenwald’s Diptyque liturgique (1956) and am still processing this massive “soundscape.” The two movements of the Diptych provide a huge contrast. The Preces is meditative and prayerful, punctuated with intense moments, whilst the Jubilate Deo radiates joy and vivacity. The entire work reflects Grunenwald’s synthesis of the French Symphonic organ tradition with the more “mystical textures” of his era as evinced in the music of Jehan Alain and Olivier Messiaen. It also acknowledges the “renewed prestige of improvisation” found in the French School at this time. Commissioned for the 150th anniversary of St. James’ Episcopal Church on New York’s Upper East Side, it feels particularly well structured:  a nod to the fact that the composer was both a master architect and the successor to Marcel Dupré at Saint-Sulpice.

The final track on this disc is by another celebrated titular organist at Saint-Sulpice, Daniel Roth. His Fantaisie fuguée sur "Regina caeli" (2007) is based on the Gregorian Marian antiphon traditionally sung during Eastertide. It creates a balance between the improvisatory tone of the Fantaisie and the rigorous construction of the “dancing” Fugue. Firmly rooted in the French Symphonic style, it calls for a wide range of registration and “orchestral” effects. Despite Roth’s modern harmonic language, the work never loses sight of the ancient plainsong melody.

Karol Mossakowski is a Polish organist specialising in both interpretation and improvisation. He has won several important awards including the Prague Spring Competition and the Grand Prix de Chartres. In 2023, he was appointed as titular organist of Saint‑Sulpice, sharing the duties with Sophie-Véronique Cauchefer-Choplin. He has performed internationally, including Tokyo’s Musashino Hall, Madrid’s Auditorio Nacional and many European cathedrals. Mossakowski is also noted for his imaginative silent‑film improvisations including a notable accompaniment to Dreyer’s Jeanne d’Arc, released on DVD by Gaumont after the Lyon Festival Lumière performance. His recordings include Poulenc’s Organ Concerto and Jongen’s Symphonie Concertante.

The liner notes by Vincent Genvrin provide a good introduction to the recital. As noted above, there are details of the organ’s history along with a full specification. A resume of Karol Mossakowski is also provided. The well-illustrated booklet is presented in French, German and English translations.

This new disc by Karol Mossakowski’s successfully explores the grandeur of the Saint‑Sulpice Cavaillé‑Coll organ with a well-thought-out programme spanning Dupré, Widor, Grunenwald and Roth, each composition illustrating a different facet of the French symphonic tradition. The recording honours a remarkable lineage and the organist now entrusted with it.

Track Listing:
Marcel Dupré (1886-1971)
Trois Preludes et Fugues, op.7 (1912)
Charles-Marie Widor (1844-1937)
Trois nouvelles pièces, op.87 (1934)
Jean-Jacques Grunenwald (1911-82)
Diptyque liturgique (1956)
Daniel Roth (b.1942)
Fantaisie fuguée sur "Regina caeli" (2007)
Karol Mossakowski (organ)
rec. 22-24 April 2025, Saint-Sulpice, Paris
Aeolus AE-11491

With thanks to MusicWeb International where this review was first published. 

Promenade Concert British Novelties for 1926

The 1926 Promenade Concert series took place from Saturday, 14 August 1926 to Monday, 16 October 1926. As usual at that era, the concerts were held at the Queen's Hall in London and featured the New Queen's Hall Orchestra, conducted by Sir Henry Wood. This season was the last under the sole management of impresario Robert Newman, who died in November of that year, before the BBC assumed sponsorship of the concerts in 1927.

The period of the Proms was overshadowed by post General Strike tensions. The Miners’ Federation began formal negotiations with Stanley Baldwin’s government on 18 August, four days after the festival began. On a more optimistic note, the legendary cricketer Jack Hobbs scored 316 runs for Surrey against Middlesex in a match at Lord's.

Culturally, the Jazz Age was in full swing, with London’s nightlife pulsing to American rhythms in the dance halls and clubs that defined the era. The year 1926 marked a decisive cultural shift in Britain, as Art Deco modernity took hold through shorter skirts, bobbed hair, and a flourishing entertainment scene shaped by jazz, cinema, and the rise of ready‑to‑wear fashion.

• Frederic Austin: Suite from the music to The Insect Play (11 October 1926)
• Arthur Bliss: Introduction and Allegro for full orchestra (8 September 1926).
• Rutland Boughton: Overture: The Queen of Cornwall (31 August 1926).
• Eric Coates: Phantasy for orchestra The Three Bears (7 October 1926)
• Gordon Jacob: Viola Concerto in C minor (23 September 1926).
• Susan Spain-Dunk: Concert Overture The Kentish Downs (30 August 1926)

Frederic Austin (1872-1952) was an English baritone, teacher, and composer recalled for revitalising The Beggar’s Opera in the 1920s. A champion of contemporary music, he premiered works by Delius and performed widely before becoming artistic director of the British National Opera Company in 1924. His own catalogue is represented by the Symphony in E major, the Rhapsody: Spring and the exhilarating Overture: Sea Venturers. They have all been recorded on CD (Classico CLASSCD 404).

The Insect Play, by the Czech writers Josef and Karel Čapek, was a sharp piece of satire in which every character is an insect, their behaviour mirroring familiar human follies. Butterflies, beetles, ants, snails, and crickets become emblems of our own vanities and obsessions, and the third act’s vast Ant Battle carries a clear pacifist message. For the English stage, Nigel Playfair and Clifford Bax created a free adaptation from Paul Sevier’s literal translation, with a score composed by Frederic Austin. The production ran at the Regent Theatre.

Phillip Sear plays two extracts from The Insect Play: the Three Step, here and the One-Step, here.

Arthur Bliss has retained his place in the annals of British music. His remarkable Colour Symphony still has the occasional outing and has six recordings. The ballet Checkmate has kept a toehold in the repertoire. Listeners who are not fans will have heard the “March” from his film score for the remarkable film Things to Come released in 1935. Bliss’s Morning Heroes, a powerful choral symphony commemorating the fallen of the First World War, is regarded as one of his most personal and enduring achievements.

The Introduction and Allegro, was completed in 1926, belongs to a string of confident, optimistic music Bliss composed after returning from service in the First World War. It was devised originally for the Promenade Concert held on 8 September 1926. It reflects his growing reputation as a brilliant orchestrator and his alignment with the neoclassical currents shaping British music in the mid‑1920s. It also marks a key step in the evolution of his public style, bridging the experimental boldness of his early post‑war works and the more polished, extroverted voice that would soon emerge in pieces like the above-mentioned A Colour Symphony and Morning Heroes.

It has been recorded four times, with the most recent being issued on the Chandos label, with Andrew Davis conducting the BBC Symphony Orchestra (Chandos CHSA 5191).

Rutland Boughton’s opera The Queen of Cornwall, premiered at the 1924 Glastonbury Festival, is a notable "choral drama" adapted from Thomas Hardy’s eponymous verse play. A darker, swifter successor to his The Immortal Hour, it reimagines the Tristan and Iseult legend. It was praised for its orchestral confidence and seamless transition between dialogue and song.

Originally produced without an overture, Boughton provided one for the 1926 Promenade Concerts. It is a substantial, thirteen-minute symphonic poem that expanded the opera’s original minimalist Glastonbury orchestration into a lush, Wagnerian soundscape for a full romantic orchestra. Although the entire opera has been recorded on the Dutton Epoch label, (2CDLX7256) the Overture remains a desideratum.

Eric Coates wrote three ‘phantasies’ inspired by children’s fairy stories: Cinderella, The Selfish Giant, and The Three Bears. The latter was specifically produced for the Promenade Concert held on 7 October 1926. As the title suggests it was based on ‘Goldilocks and the Three Bears. It was dedicated to Coates’s son, Austin, on his fourth birthday. This personal connection highlights its whimsical nature. Michael Payne (Thesis, 2007, p.507) has pointed out, the story is eminently suitable “to picturesque orchestral treatment and the fact that every hearer is familiar with it will make this work easily intelligible.” Commenting in the Musical Times (November 1926, p.1026), Eric Blom considered it “a smoothly written little work that contrives to outline the story and to retain at the same time a certain shape of its own.” Central is the recurring leitmotiv of “Who’s been sitting in my chair?” which provides a cohesive thread throughout the entire phantasy - a work never short in musical wit. Many recordings have been made of The Three Bears. The BBC Philharmonic Orchestra conducted by Rumon Gamba can be heard here.

Gordon Jacob’s Viola Concerto No. 1 (1925) is an impressive one-movement composition that balances "rugged virility" with "gentle singing." Premiered in 1926 by Bernard Shore, it explores the dual nature of the viola through three distinct sections. It occupies a lush, romantic landscape reminiscent of Bax and Vaughan Williams, shifting between pastoral serenity and defiant, heroic "calls to arms." Despite its strength and "sensational" lyricism, the concerto remained neglected after the 1920s until the recent recording. It stands as a powerful testament to Jacob’s ability to blend neo-classical structure with uncharacteristic, non-sentimental romanticism. It can be heard on an album titled Gordon Jacob: Complete Music for Viola and Orchestra, (Dutton Epoch, CDLX 7258) which also includes his second concerto, the Concert Piece, and the Three Pieces for Viola and Orchestra. Played by Helen Callus, viola, and the BBC Concert Orchestra is conducted by Stephen Bell.

Folkstone-born Susan Spain-Dunk’s (1880-1962) Concert Overture The Kentish Downs (1926) is a notable example of 20th-century British pastoralism. Premiered at the Promenade Concerts on 30 August, it reflects her love of her native Kent.

Moving beyond mere landscape painting, the overture captures the rugged beauty and shifting light of the North Downs through strong melodic lines and rich, late-Romantic orchestration. It balances rhythmic vitality with a sense of expansive serenity, exploring her technical competence. As a pioneering female composer-conductor, Spain-Dunk used this piece to cement her reputation for creating "evocative and expertly crafted" orchestral tone poems. To my knowledge, it has not been given a modern recording, although there is a performance of the Overture on YouTube, here.

Out of the six British Novelties heard at the 1926 Promenade Season, only two have really held their place in the concert and recording stakes: Eric Coates: Phantasy for orchestra The Three Bears and Arthur Bliss’s Introduction and Allegro. Susan Spain-Dunk’s Concert Overture The Kentish Downs, Frederic Austin: Suite from the music to The Insect Play and Rutland Boughton: Overture The Queen of Cornwall await recording. And finally, Gordon Jacobs’s Viola Concerto in C minor has had a single recording made but has not really entered the repertoire.

The Peter Jacobs Anthology Volume 3

Peter Jacobs writes that the genesis of this disc is in a recital that he gave to the Havergal Brian Society in 1979. It was recorded at the time, but the tapes only resurfaced earlier this year. Sadly, the Brian pieces that he performed were missing. He explains that HB was “the presiding spirit over almost all the music he played that afternoon.”

I am not sure where the sheet music for the Prelude and March from Granville Bantock’s major choral work Omar Khayyám originated. The record company assured me that these transcriptions were made by Bantock, however, I cannot find any reference to them in the catalogues and guides to research. Whatever their provenance, they evoke a pseudo-orientalism, which, while a touch 'East of Dagenham' exotic, is vividly characterised.

The two Preludes and Fugues for piano by composer, scholar, teacher, and author Harold Truscott are splendid mid-20th-century essays in counterpoint, balancing tradition with a distinctly English voice. The E‑flat minor pair, around seven minutes, unfolds in a sombre prelude and a weighty Molto andante fugue, echoing late‑Romantic idioms. The C major pair, just over two minutes, contrasts with brisk energy and playful charm. They explore Truscott’s seriousness and wit, his admiration for Bach, and his belief in the fugue’s contemporary vitality. They are not part of a complete cycle.

William Allum was an English draftsman, poet, and composer, strongly associated with Havergal Brian. Born in Wheatley, Oxfordshire, he lived with Brian in 1918, and it was Brian who encouraged him to send his compositions to Granville Bantock. Allum’s output includes piano, organ, and vocal music such as Aspatia’s Song, Preludes on original vespers, and Sweet Was the Song.

The liner notes explain that Allum had a great love of Chopin, a devotion that is reflected in the two pieces heard here. The Prelude No.24 in D minor was written in honour of his idol, while the Nocturne in C sharp minor is a dreamy exploration of “unexpected melodic turns and languid harmonies.” Hopefully, Jacobs will explore more of William Allum’s music.

William J. Fenney was a Birmingham-born composer. Initially self-taught, he later studied composition under Granville Bantock at the Midland Institute School of Music. Deeply influenced by his admiration for Elgar, Fenney produced orchestral and chamber music, alongside songs and piano tunes. In later years, he ceased composing, feeling unable to adapt to contemporary idioms. Josef Holbrooke in his eccentric Contemporary British Composers (London, Cecil Palmer, 1925) believed that Fenney had an “introspective gift” and asserted that his Trio, op.20 “alone will place him in high estimation among musicians” concluding that Fenney’s music is “intrepid, malleable and interwoven in a charming way.”

Fenney's Au Printemps ('In Early Spring') is a remarkable bit of pastoral quaintness. The core sentiment underpinning the composition is that "even on the brightest day our scenery has at least a hint of melancholy." Unfortunately, few details about this 1915 suite (published by J&W Chester) are provided in the liner notes. The three movements are collectively dedicated to a Mrs Albert Halstead.

The opening movement, Romance, establishes a demanding pianistic style, using considerable octaves in the right hand and tenths in the left. It leaves the listener questioning its narrative - is it an unexplained tale of chivalry or adventure, or, much more likely, a movement nodding towards an emotional attachment between two people? The subsequent piece, In the Woods, is played with notable innocence and restraint. The collection concludes with On a Hillside, which is performed vivace e marcato. This final movement stands out as a technically challenging study of broken chords, which at times explodes into Lisztian passion. An interesting historical reference found in the Musical Times (March 1918) confirms the existence of an orchestral version of Au Printemps.

I was surprised to learn that the highly respected author and editor Malcolm Macdonald was also a composer. His books on Havergal Brian and John Foulds have long been in my library; he also served as editor of Tempo magazine and was a regular broadcaster.

The liner notes explain that Waste of Seas (1976) was inspired by a Hebridean seascape: it is bleak, lonely and adamant.

Robert Simpson’s “uncompromising” Variations and Finale on a theme of Haydn which was written in 1948 making it one of his few piano works. The theme was taken from the second movement, Menuetto al Rovescio, of Haydn’s Piano Sonata in A major, Hob. XVI:26 (1773) - a palindromic theme - also used in Haydn’s Symphony No.47 in G. All twelve of Simpson’s variations are also palindromic, except for the Finale. The variations are divided into three groups of four, the first being fast, the second akin to a “slow movement” and the third could be a scherzo. The Finale is a not too strict double fugue with accretions. It is the most technically challenging work on this disc, and one I confess I find difficult to fully warm to, yet it undeniably displays Robert Simpson’s ‘modern’ language while showing considerable respect for classical sensibilities.

The final track presents The Queen's Dolour - A Farewell by the honorary Scottish composer, the Lancashire-born Ronald Stevenson. This gorgeous piece is a transcription from Herny Purcell’s opera, Dido and Aeneas. Everyone knows the story: Dido’s farewell to Aeneas is one of the most tragic moments in Virgil’s Aeneid - she confronts him in fury and grief when he prepares to leave Carthage, accusing him of betrayal, and resolves to end her life. Yet Aeneas has been told by Jupiter that his mission lies in Rome, and not in Dido’s arms. Stevenson transforms Purcell’s original with spread chords, inner voices, and Romantic embellishments, agelessly complementing its unforgettable melody.

Bearing in mind that this was a “live” recording made 46 years ago; the sound holds up remarkably well. The liner notes give a good introduction to this recital, though I would have appreciated a little more historical information and analysis, particularly the dates of the works. There is a brief resume of Peter Jacobs.

This anthology presents a skilful and engaged performance of some fascinating British piano music, successfully capturing an important 1979 recital. Despite a few missing historical details, the disc commendably explores “forgotten” composers like Truscott, Allum, Fenney, and Macdonald, making it a valuable, well-preserved snapshot of neglected repertoire.

Track Listing:
Granville Bantock (1868-1946)
Omar Khayyam: Prelude & March (1906-09)
Harold Truscott (1914-92)
Prelude and Fugue in E flat minor (1957)
Prelude and Fugue in C major (1957)
Walter Allum (1895-1986)
Nocturne in C sharp minor (?)
Prelude No.24 in D minor (?)
William John Fenney (1891-1957)
Au Printemps 'In Early Spring' op.13 (1915)
Malcolm MacDonald (1948-2014)
Waste of Seas (1976)
Robert Simpson (1921-97)
Variations and Finale on a theme of Haydn (1948)
Henry Purcell (1659-95)/Ronald Stevenson (1928-2015)
The Queen's Dolour - A Farewell (Purcell) (1959)
Peter Jacobs (piano)
rec. 1979
Heritage HTGCD127

With thanks to MusicWeb International where this review was first published.