My introduction John McCabe’s (1939-2015) music was found in an old cardboard box outside Hughes second-hand bookshop in
Llandudno around 1975 –the EMI recording of the Chagall Windows coupled with the Variations on a theme of Karl
Amadeus Hartmann (ASD3096). I remember
that I was not impressed by either work, although time has changed my mind about
the Chagall Windows. It is a
masterpiece. Around the same time, I discovered that McCabe was also a
brilliant pianist. I acquired one of the boxed sets (vinyl) of his recordings
of the Haydn Piano Sonatas. In 1995, I invested in the 12CD Decca reissue of
all the sonatas and other piano works: I have never found the need for any
other version of this great music.
Over the years I have come to appreciate
McCabe’s music, especially the orchestral and brass band pieces. Yet for some
reason, his original piano works have passed me by. I never got round to buying
the BMS CD which appeared around 2004. This was reviewed on MusicWeb
International by Christopher Thomas and a few years
later by Bob Briggs. It is this disc
that Naxos has re-leased.
John Healy in the Newcastle-based
newspaper The Journal (19 February
1964) noted that the Variations, op.22 are ‘not cast in the usual variation
form.’ He was concerned that there appeared to be ‘no recognisable theme
announced at the outset – only a series of chords and twiddling’s at the
extremity of the keyboard.’ Yet the reviewer conceded that there was ‘much
effective writing and the three well contrasted sections seemed to present a
good deal of thoughtful invention.’
All this seems to fit my first
impression that the opening of this piece is a bit tenuous but that the work
becomes more impressive as it develops.
I was amused to read that the composer himself had apparently referred
to ‘tinkles’ at the extreme ends of the keyboard. The basic fact is that this is a series of
‘studies in rhythm and texture rather than in melodic variations in the
traditional sense.’ (Manchester Guardian
6 March 1964). There are eighteen ‘variations’ in all with a short ‘cadenza’
interposed between the penultimate and final one. The structural material of the piece is based
on the tritone (C-F#): the composer referred to this as the ‘springboard of the
theme.’ It is the rhythmic diversity of this work that I find memorable. The
sound world of this piece is more Bartok than Brahms or Rachmaninov; however
there are a number of meditative moments scattered here and there.
The Variations were completed in
1964 and were first played on 18 February of that year by the composer at the
Newcastle Upon Tyne People’s Theatre Arts Centre as part of a Tyneside Music
Society event. They are dedicated to Gordon Greene with whom McCabe had studied
piano at the Royal Manchester College of Music.
Aubade, Study no. 4 was composed
in 1970. McCabe wrote that, ‘the music derives principally from the extended
use of arpeggio features and appoggiaturas (grace notes), as the pianistic
elements uppermost in the piece … it is intended to conjure up not so much the
coming dawn … but the moment of stillness before dawn.’ I felt that this study
created a feeling of stasis often associated with the music of Olivier
Messiaen, but without the liturgical colourings.
Gaudi, Study no.3 is a major work
by any account. Inspired more by the Montserrat landscape of rocky outcrops
that influenced Gaudi than any particular building by the legendary architect,
this study is a constant flux of powerful, declamatory eruptions with moments
of reflective calm. There are five thematic elements, which are both
contrasting and complex: they are pieced together in the form of a large (but
not classical) rondo. McCabe uses a wide palette of pianistic colour including
‘Bartokian’ clusters, irregular rhythmic writing, bell-like music and counterpoint.
This stunning music reflects the sunshine of Spain in its ‘kaleidoscope’ of
musical colourings.
Mosaic (Study No.6) is the latest
of the series of Studies. It was composed in 1980 for the North Wales Festival
and was dedicated to William Mathias. The inspiration for this music are the
mosaics which the composer saw in the mosques of Damascus during a concert
tour. The work based on a tone-row, which is not treated ‘serially’ in a strict
sense; it is simply a source for material. This is a work of considerable
length that explores ‘a fantasia-like set of
dovetailed and freewheeling variations’. It is a complex study that places
great demands on the pianist. I spite of a number of climaxes and outbursts I
found this a deeply meditative work.
The Five Bagatelles are quite
beautiful in their exploration of a number of relatively restrained moods (the
Toccata excepted). They were commissioned by Robin Elkin, the music publisher,
were completed in 1963 and dedicated to ‘Isobel.’ The five bagatelles last less
than three and half minutes with the opening Capriccio being a mere 36 seconds
long. Yet these are not ‘trifles’ as such. They are well-conceived and
convincing miniatures that responded to a request ‘for not-too-difficult
12-note pieces.’ McCabe may have used serial techniques to engineer these
Bagatelles, however the constructional process does not interfere with their
magical quality and sheer beauty. The Five Bagatelles are ‘Capriccio’, ‘Aria’,
‘Elegia’, ‘Toccata’ and ‘Notturno’.
John McCabe’s most important
piano work is often claimed to be the Haydn Variations. It was commissioned by
the City Music Society and was composed between 1982-83. The work was dedicated
to the pianist Philip Fowke who gave the premiere in London Goldsmith’s Hall on
26 October 1983. In preparing for this review, I read both assessments of the
old BMS CD noted above. I picked up on Bob Briggs statement that ‘the Haydn
Variations start with quite a shock – you cannot be prepared
for this at all! It’s a most arresting opening – more Rachmaninov than Haydn –
but once the piece gets going it’s pure McCabe’. It is really a brilliant
overview of this work. The liner notes point out the rather unorthodox nature
of these ‘variations.’ The theme, which is derived from the first movement (Moderato) of Haydn’s Piano Sonata No 32 in G minor,
Hob XVI: 44, does not actually appear until page 32 of the score (there are 53
pages in total). John McCabe has stated that the theme is presented ‘surrounded
by remote harmonies giving it the air of something being recollected rather
hazily.’ The composer does insist that everything in the work is derived from
this theme ‘even when the music seems far removed from it.’
I felt
that I was listening to a sonata rather than a set of variations, and this view
is supported by the tripartite nature of the piece. The opening section is
fast, followed by a much slower and reflective middle part which is succeeded
by music that gradually increases in pace and virtuosity.
The playing by John McCabe is
beyond fault. I have not heard the old PYE LP of the Bagatelles (GSGC 14116) or
the two studies released on RCA (RL
25076) so I am unable to offer comparisons. The liner notes are by Guy Rickards. They are
comprehensive and amount to a major study of these works: they bear study
before and after listening to this music. The ambience of the recording is
perfect.
It is good that McCabe’s music is
attracting more attention from Naxos. I do hope that this trend will continue,
both with the orchestral works which surely demand a complete cycle of his
symphonies, and the other piano works that still await a premiere recording.
This present CD is an important re-release of a valuable British Music Society
disc that some people (like me) may have missed first time round.
Track Listing:
Variations, op.22 (1963)
Aubade (Study No.4) (1970)
Gaudi (Study No.3) (1970)
Five Bagatelles (1964)
Mosaic (Study No.6) (1980)
Haydn Variations (1983)
John McCabe (piano)
NAXOS 8.571367 (Reissue
of British Music Society BMS424CD
With thanks to MusicWeb International where this review was
first published.
No comments:
Post a Comment