A good place to begin an exploration of
Sir Herbert Brewer’ organ music is with the totally unpretentious, but thoroughly
delightful, miniature Auf Wiedersehen.
For listeners who know Brewer’s important and deeply moving Gerontius transcription this slight
piece will be a complete contrast. Lasting just under three minutes, this number
is more suited to the theatre organ than that of a great cathedral. Brewer was
transcribing ‘himself’ in this piece: dating from 1908 the original was scored
for violin and piano. It is wistful music, with more than a hint of sadness,
however it is a perfectly contrived little piece that never fails to delight.
Move on to the ‘Marche Héroïque’. The
liner notes assure us that this is one of Brewer’s most ‘popular’ pieces. Certainly,
this work lies neatly in a trajectory from Sullivan’s Marches to Walton’s ‘Crown
Imperial’ by way of Elgar’s ‘Pomp & Circumstance’. This is a stirring march
with a memorable ‘trio’ section which is ‘triumphant’ in its
recapitulation. It is an impressive way
to bring any recital or CD to a conclusion. These two pieces define to a large
extent Herbert Brewer’ musical aesthetic – quiet, introverted character pieces
and big, powerful works that are typical of the Edwardian and Georgian era.
A few words about Sir Herbert Brewer will
be of interest. For more information about this composer, the listener is
referred to his autobiographical sketches Memoirs
of Choirs and Cloisters (1931) which is a delight to read and is full of
fascinating anecdotes and period detail.
Sir Herbert Brewer was born in Gloucester
in 1865. He was an organist, conductor and composer. After beginning life as a chorister at
Gloucester Cathedral he held posts in the organ loft of churches in Gloucester,
Oxford, Coventry and then Bristol Cathedral.
In 1896 he became organist at Gloucester Cathedral. Later, he conducted
the Three Choirs Festival when in that city. He was also director of music at
the Gloucester Orchestral Society. Brewer’s musical output included cantatas,
oratorios, anthems, organ music, a few piano solos and lighter music for choral
societies and orchestras. He was knighted in 1926 and died two years later in
the city of his birth.
I do not intend to comment on all twenty
pieces on this essential CD; I present a few notes on some of the works that
caught my aural imagination.
Many of Brewer’s organ compositions are
‘secular’ suggesting a civic organ rather than one in a cathedral or a large
parish church, although the restrained mood of some of the more poignant
numbers does make them ideal voluntaries.
‘Reverie’ is based on a delightful melody
for the ‘oboe’ stop. The ‘dream’ is more something ‘classical’ rather than ‘liturgical’,
suggesting a warm summer’s day. It is one of the loveliest pieces on this disc.
Similarly, the Elgarian ‘Impression’ (1916) is reflective in its mood, making
use of some lovely rich harmonies. The registration gives a deliberately
unfocused mood to this piece.
Mention must be made of Cloister-Garth (1926): I always think of
this piece in the same breath as Easthope Martin’s Evensong – painting a picture of the cathedral close, with just a
hint of something a little more romantic. The work was dedicated to Walter
Alcock (Daniel Cook has issued a CD of organ music by this composer, PRCD1008)
who was a long time organist at Salisbury Cathedral.
The ‘Meditation of the name of Bach’ is a
well-wrought work that is in a long line of such pieces that pay homage to the
great man. My only complaint is that it
is too short. Once again it is quiet and introverted.
‘Solitude’ is a short piece lasting a mere
two minutes, however Brewer presents some profound music that hints at sadness
and melancholy. Cook has suggested that the ‘sparse texture of the work, creates
a startling, almost depressive character reminiscent of the darkest outpourings
of Louis Vierne.’ It is a truly beautiful piece that is both moving and
evocative.
More extrovert than these miniatures is ‘A
Thanksgiving Processional’ (1926). Interestingly, the march-like opening
section seems to suggest a ‘big’ tune to follow, but what Brewer delivers is a
gorgeous meditation for the clarinet stop. The work builds up to a powerful conclusion,
including upward scale passages and powerful chords in the return of the principal
theme.
Equally impressive is the opening track on
this CD, ‘Triumphal Song’ (1901). This was composed on 1901 and dedicated to
Ivor Atkins who was organist at Worcester Cathedral (1897-1950). Once again the
composer makes use of the ‘P&C’ March form with the main theme being
contrasted with a contemplative trio. The march is restated with tremendous
power and glory. This piece may have been used as a recessional at the
Worcester Three Choirs Festival in 1899.
Daniel Cook notes that the much more
complex ‘Paean of Praise’ (1922) is composed in the form of a ritornello and
fugue. He suggests that the piece was written to explore and reflect as many different
colours of the then newly rebuilt Gloucester Cathedral Organ. The fugue is (and
sounds) difficult: Cook suggests that this is the reason why the work is not as
popular with organists as it deserves.
After the fugue the opening lugubrious chordal sequences make their
expected return (ritornello). The success of the formal structure of the ‘Paean’
is repeated with the ‘Introduction and Fugato’ which is a truly lovely piece:
once again it is too short.
Finally, ‘Carillon’ (1918) was composed
for the Little Organ Book in memory of
Sir Hubert Parry. The two composers were staunch friends and this work is
certainly a fine tribute to Parry.
Daniel Cook was until recently Organist and Master
of the Choristers at St David’s Cathedral. He had a significant involvement
there with the Cathedral Festival. In September 2013 he was appointed to the
post of Sub-organist at Westminster Abbey. He is also
currently artistic director of Mousai Singers who have lately released a fine
album of British music with a ‘Welsh Connection’. Cook has recorded a number of CDs for Priory
Records, including the complete works of Herbert Sumsion, Charles Villiers
Stanford (on-going) and the above-noted selection of music by Walter Alcock.
As always with Priory CDs the sound is perfect. I
can enjoy this music as if I were sitting in the nave of the great Salisbury Cathedral.
Daniel Cook has prepared the liner notes, which are a considerable achievement
bearing in mind that there is precious little in the literature about either
Brewer or his music. Four pages of the
liner notes are dedicated to the organ specification and its history. This
instrument was originally installed in 1877 by ‘Father’ Henry Willis and has
had a number of rebuilds, cleans and restoration. The great Victorian composer
and organist John Stainer considered that this instrument was ‘even finer than
the organ Father Willis had designed for St Paul’s in 1872. Father Willis himself considered that it was
his finest creation.
This is a CD to explore slowly,
taking a few tracks at a time. Soon the power and charm of the music will sink
into the mind. Here is a composer who has had written music that is very much
of its period. But what he has added is a considerable depth of thought and
emotion into nearly every piece. He has created an inspiring and well-wrought
body of work that demands the attention of all organ enthusiasts and lovers of
British music. It is an album that has been long overdue.
Track Listings:-
Herbert Brewer (1865-1928)
Triumphal Song [7.34]Herbert Brewer (1865-1928)
Rêverie [2:54]
An Impression [1:49]
Meditation on the name of Bach [2:27]
A Thanksgiving Processional [4:13]
Carillon (from A Little Organ Book) [4:43]
Interlude in F [2:10]
Minuet and Trio in D [5:34]
Eventide [2:32]
Cloister Garth [2:51]
Praeludium in A flat [2:52]
Melody in A [2:35]
Paean of Praise [6:45]
Elegy [2:55]
Introduction and Fugato [4:14]
Canzonetta [5:14]
Solitude [1:52]
Minuet and Trio in B flat [5:35]
Auf Wiedersehen [2:59]
Marche Héroïque [5:47]
Daniel Cook (organ)
PRIORY PRCD 1057
An Impression [1:49]
Meditation on the name of Bach [2:27]
A Thanksgiving Processional [4:13]
Carillon (from A Little Organ Book) [4:43]
Interlude in F [2:10]
Minuet and Trio in D [5:34]
Eventide [2:32]
Cloister Garth [2:51]
Praeludium in A flat [2:52]
Melody in A [2:35]
Paean of Praise [6:45]
Elegy [2:55]
Introduction and Fugato [4:14]
Canzonetta [5:14]
Solitude [1:52]
Minuet and Trio in B flat [5:35]
Auf Wiedersehen [2:59]
Marche Héroïque [5:47]
Daniel Cook (organ)
PRIORY PRCD 1057
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