This double CD of flute and piano music is a
rare treat. The concept of the album is to showcase British music for flute and
piano written (with one exception) during the 20th century. There
are one or two relatively well-known pieces here that are complimented by some unknown
gems. Most of the composers are familiar names to British music enthusiasts,
however, Messrs. Ranish and Lamb are new to me, and, I guess for many other
listeners as well.
Where does one begin to explore this
excellent compilation? I suggest with what is probably the best-known work on
these CDs: Malcolm Arnold’s Sonata for Flute and piano, op.121. (The liner
notes quote op.21!) Unsurprisingly, this work was written for, and dedicated to,
Sir James Galway who gave the premiere in Cardiff on 19 March 1977. This piece is typical of the composer’s
‘colourful, exuberant and entertaining’ style. The work does have some slightly
more serious moments in its progress, especially in the calm middle movement,
but any angst is blown away by the jazzy Latin ‘con moto ritmico.’ It is a joy
to listen to.
I then explored the shorter pieces. Granville
Bantock’s Pagan Poem is a work that
looks to the mysteries of ‘far-off lands’ and antiquity for its
inspiration. It is sad and melancholic
in mood, and explores a wide variety of the flute’s tonal resources. It is a little
masterpiece.
I have always been a fan of Cyril Scott: I am
grateful that so much of his music is currently available on CD. I do not know
his exotic The Ecstatic Shepherd.
Influenced more by the Idylls of Theocritus than the hillsides of England this lovely
piece presents the listener with a hypnotic unfolding melody that espouses a
drowsy afternoon in the nymph-haunted hills and meadows of Sicily.
Richard Rodney Bennett is a composer of many
parts – from jazz, film scores, symphonies and concertos, his music is a
largely undiscovered country. The three-movement Summer Music (1983) lives up to the promise of its title. This is
urbane music that depicts a ‘siesta’ some beach ‘games’ as well as ‘Summer
Music’ in general.
Eugene Goossens (born 1893, not 1896 and died
1962 not 1952 as track listings on page 3 suggest: the dates are correct in the
programme note section!) ‘The Breath of Ney’ (‘The breath of Ney floats down the valley’) is a miniature that is way too
short. The piece is the first of two Persian
Idylls which were originally settings of two poems by the music critic
Edwin Evans. The second (not recorded here) is The Heart of Kalyan. ‘The Breath of Ney’ has been arranged by Paul
Rhodes for flute and piano.
Unfortunately, Howard Blake tends to be largely
recalled for his film score to The Snowman
(as well as a vast number of arrangement and transcriptions he has made of this
piece). Yet his compositional
achievement is far wider. His catalogue includes hundreds (some 667 currently listed
on his website) of works ranging from full blown concertos, symphonies and
ballet scores. The present Elegy was originally the slow movement of a Clarinet
Concerto, but was re-presented in its current form in 1992. It is a complex,
involved work that is ‘beautifully suited to the expressive qualities of the
flute.’
An older generation of composers is
represented by the 18th century John Ranish. I have not heard of
him, so was grateful to the concise mini-bio in the liner notes. Seemingly,
Ranish, who was born in 1692/3 lived most of his life in Cambridge playing and
teaching the flute. Historical records show that he was well-respected and
popular. He wrote twenty sonatas, or
‘Solos for the German Flute with thorough-bass’ which were published in two
volumes as op.1 (1735) and op.2 (1744). The present sonata is the third from
Volume 2. This is a typically baroque work that has three movements: ‘adagio’, ‘allegro’
and ‘giga’. The liner notes state that
that they are ‘not particularly distinguished works’ which may be the case.
However, I thought this example was musically satisfying and often quite
beautiful in tone and mood. If the other nineteen are only half as good as this
sonata they deserve to be heard.
Another composer that I have not come across
before is Peter Lamb (1925-2013). I wish that the liner notes had included some
biographical references to him. I quote his Facebook
page which gives brief details. Peter Lamb was born in London and studied
initially at Trinity College of Music and latterly with the composer Arthur
Benjamin. Much of Lamb’s subsequent career was spent as a musical administrator
with record companies and as deputy manager of the Bournemouth Symphony
Orchestra. He was also one-time Head of Music at Peter Symonds’ college in
Winchester and lectured at the University of Southampton for
eight years.
One of my favourite works on this
album is William Mathias’ early Sonatina for flute and piano. This was
completed on 8 January 1953 whilst the composer, aged 18, was living in
Whitland, Carmarthenshire. It was first heard on 18 April of
the same year at St Cecilia’s House, London. The work won a composition prize
in the 1953 Inter-college Eisteddfod. The Sonatina was dedicated to the
flautist Lamond Clelland and pianist Margot Bor. The work fell into desuetude until the
composer revised it in 1986. It was
subsequently published.
In many ways this work is not
typical of Mathias’s music as he matured. Yet it is an impressive work with
memorable tunes. The opening allegro has some tight rhythmical action that is
clearly exacting to pull off. The middle movement is leisurely and reflective
in its tone, however, it is soon pushed out of the way by an energetic ‘allegro
vivace’ which propels the music to an exciting finish. It is a wholly competent
work for a young composer.
Anything by Kenneth Leighton
interests me immediately. In this case it is a ‘new’ work that I have not come
across before. The Serenade in C op.19a was composed during July1949 and revised
four years later. It was dedicated to the composer’s friend Gustav Born who
played the flute. It was first heard at an Oxford University Music Club &
Union concert on 13 June 1950. The Serenade
is from time when Leighton was influenced by the ‘pastoral’ school of music epitomised
by Gerald Finzi and Vaughan Williams. There are nods to William Walton as well.
This English ‘pastoral’ mood is prominent
in the final movement.
Thomas Dunhill’s Suite for flute
and piano, dating from around 1935, is an attractive and straightforward work
that is technically accessible to younger and less virtuosic players. Yet the effect
of this piece belies this relative simplicity. There are five contrasting
movements including the imaginative ‘adagio non troppo: quasi improvisata’
which allows the players’ musical imagination some scope in interpretation. I
was particularly impressed by the wayward finale.
York Bowen’s (born 1884, not 1888
as track listings state) Sonata for flute and piano, op.120 is the big romantic work on this CD. In
fact, I was amazed at just how much passion, romance and power can be invested
in a work for flute. The work is post-war, having been composed in 1946. It was
dedicated to Gareth Morris. The liner notes point out that this Sonata is ‘one
of the most substantial and well written works for the flute by a British
composer…’ I agree with the sentiment that suggests it is ‘perplexing as to why
it remained on a library shelf in manuscript for over forty years.’ I particularly enjoyed the beautiful
‘English’ mood of the ‘andante piacevole’ which seems to hark back to an
imagined idyll. The finale is a dynamic, energetic and exuberant tour de force.
One forgets that Bowen was born a
Victorian, came to maturity at the start of the Edwardian era and survived into
the age of Rock and Roll. His music tends to reflect a quixotic mood, long
deemed to have become passé,
but which is unfailingly attractive to listeners.
The liner notes for this CD are
excellent in spite a few errors that have crept in (noted above). I would have
liked to have seen the dates of all the pieces included in the track listings
or in the notes.
One must not get too carried away
with the repertoire and ignore the excellent playing by flautist Kenneth Smith
and pianist Paul Rhodes. It is stunning performance from the first note to the
last. I accept that in many instances it is not possible to compare versions of
these pieces, as there is no (or little) competition. The important fact is
that this recital grabs and ultimately holds the listener’s attention. This is
a fine compilation that will prove attractive and essential to all British
music enthusiasts and all lovers of flute music.
Track Listing:-
CD1
Malcolm ARNOLD (1921-2006) Sonata for flute and piano, Op. 21 (1977)
Granville BANTOCK (1868-1946) Pagan Poem (1930)
Peter LAMB (1925-2013) Sonatina for flute and piano (1973)
Cyril SCOTT (1879-1970) The Ecstatic Shepherd for solo flute (c.1922)
Kenneth LEIGHTON (1929-1988) Serenade in C for flute and piano (1949)
John RANISH (1692/3-1777) Sonata for flute and piano in B minor, Op. 2 No. 3 (1744)
Richard Rodney BENNETT (1936-2012): Summer Music (1983)
Granville BANTOCK (1868-1946) Pagan Poem (1930)
Peter LAMB (1925-2013) Sonatina for flute and piano (1973)
Cyril SCOTT (1879-1970) The Ecstatic Shepherd for solo flute (c.1922)
Kenneth LEIGHTON (1929-1988) Serenade in C for flute and piano (1949)
John RANISH (1692/3-1777) Sonata for flute and piano in B minor, Op. 2 No. 3 (1744)
Richard Rodney BENNETT (1936-2012): Summer Music (1983)
CD2
William MATHIAS (1934-1992) Sonatina for flute and piano (1953/1986)
Eugene GOOSSENS (1893-1962) The Breath of Ney (1918)
William MATHIAS (1934-1992) Sonatina for flute and piano (1953/1986)
Eugene GOOSSENS (1893-1962) The Breath of Ney (1918)
Peter LAMB Sonata for flute and piano
(1988)
Thomas DUNHILL (1877-1946) Suite for flute and piano (c.1935)
Howard BLAKE (b.1938) Elegy, Op.444 (1992)
Edwin York BOWEN (1884-1961) Sonata for flute and piano, Op. 120 (1946)
Thomas DUNHILL (1877-1946) Suite for flute and piano (c.1935)
Howard BLAKE (b.1938) Elegy, Op.444 (1992)
Edwin York BOWEN (1884-1961) Sonata for flute and piano, Op. 120 (1946)
Kenneth Smith
(flute), Paul Rhodes (piano)
Divine Art DDA21223
With thanks to MusicWeb International where this review was first published.
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