Many years ago I inherited a
number of editions of The Children’s
Music Portfolio which was a serial edited by Thomas Dunhill around 1922.
Amongst the songs and piano pieces by a variety British and continental
composers was a selection of Irish Folk Tunes arranged by Stanford. I recall
that I struggled to play them effectively. Howell gives a reason: Stanford
provided a relatively involved and constantly changing accompaniment to the
simple tune which became a little tricky to execute for young or unpractised
fingers. They include ‘The Minstrel Boy’,
‘St Patrick’s Day’ and ‘The Meeting of the Waters’. These are the only
arrangements of Irish tunes for piano (many folk-songs were arranged) that
Stanford made. I loved hearing these miniatures played with considerable
sensitivity here.
The ‘Three Fancies’ are new to
me. They were issued in the last year of the composer’s life. These are more
complex than the Sketches, although they were also written for students. Howell
suggests they are at about Grade 5. I particularly like the opening ‘Fancy’
which could be entitled ‘Bach walks down Grafton Street’ with its reel-infused ‘invention’.
The first CD opens with Six
Waltzes which were composed when Stanford was 24 years old. They are the earliest
pieces on this CD. All six waltzes are connected by a bridge passage and there
is a final coda. These are striking pieces that are clearly derivative of
Brahms. Howell notes that there are also ‘echoes’ of Dvorak in these pages, in
spite of the fact that it is unlikely that Stanford would have been aware of
the Bohemian’s music.
Many years later Stanford
revisited the form with his Three Waltzes, op.178. They were published in 1923, but had probably
been composed some three years earlier. They are evocative reminiscences of an earlier
age. Look out for allusions to Beethoven’s ‘Fur Elise’ in the opening number.
Waltz No.2 is full of energy and exuberance. And then there is a good characterisation
of contemporary salon music in the third number.
Stanford wrote his Six
Characteristic Pieces, op.132 in 1912 for the pianist Moritz Rosenthal, who was
slated to perform the composer’s stunning C minor Piano Concerto. Unfortunately,
the pianist failed to play either works. The opening piece, ‘In Modo Dorico’
was clearly important to the composer. He arranged it for organ as well as
utilising it in his opera The Travelling
Companion. The final ‘Toccata’ was used as an ‘advanced’ grade piece in
1921. It is an incisive number that is almost dance-like in its progress. Here
and there the listener can hear an allusion to the yet unwritten ‘I got rhythm’
by George Gershwin. The ‘Romance’ is quite beautiful and passionate in its
mood. The ‘Study’ has a touch of Mendelssohn about it whilst the ‘Roundel’,
which was dedicated to Robert Schumann, is largely reflective and intimate
without being pastiche.
The Five Caprices, op.136 (1913) are difficult and complex
works that demand a high level of technical ability. The opening piece is a
bravura march. The second is written in a dark, mystical Celtic mood that seems
far removed from anyone’s idea of a ‘caprice.’ I agree with Howell’s suggestion
that this is a ‘pianistic parallel to the …Caoine (dirge sung by mourners) from
the Clarinet Sonata. For me, this is one of the most impressive pieces on this
CD and also in Stanford’s piano music. Caprice no.3 in G minor nods towards
William Sterndale Bennett: the middle ‘trio’ section is particularly
attractive. I was struck by the thoughtful working out of the fourth Caprice -lots
of Brahmsian ‘thirds’ and ‘sixths’ in the right hand. Surely this is Stanford
telling a story? Howell does suggest it could have been called a Ballade-Caprice.
The set ends with a lovely waltz. A good
ending to what is one of the most impressive works on this CD.
The Twenty Four Preludes in all the keys, op.163 (1918)
deserve a major essay in their own right. In spite of Fuller-Maitland (op.cit)
these represent a major achievement by Stanford. The composer has made use of
the same key arrangement as Bach in his 48 Preludes and Fugues. Yet these
pieces are not always serious or portentous. John F. Porte has suggested that
they ‘cover almost every mood, from that of the funeral procession to the jovial,
and from the weighty Hibernian march to fairy-like charm and grace’. Typically
they exemplify a good understanding of pianism and formal construction. Some
have been given a title, presumably by the composer. These include ‘Study’, ‘Tempo
di Valse’, ‘In the Woodland’, ‘Carillons’ and ‘In Memoriam M.G.’
This is music that is largely summative in effect rather
than ground-breaking. The composer is clearly looking back rather than
speculating on the future. The fact that this manifestly ‘tonal’ sequence was
devised at a time when other composers were indulging in atonality and presiding
over the breakdown of the tonal system is surely telling. Yet these are lovely,
often sensual, pieces that defy categorisation. We can listen to these with an
open mind and enjoy the drama, the passion, the variety, the invention and the
grandeur of design for what it is- a major contribution to British piano music.
The liner notes (by Christopher
Howell) are superb. A short essay looking at ‘Stanford the Pianist’ explores
the composer’s relationship with the instrument from a highly competent youthful
performer to his love of playing chamber music and song accompaniments in his
later years. There is then an overview of the piano music before a dissertation-style
examination of each of the pieces or sets of pieces.
I was delighted by Howell’s
performance. It would be so easy to be patronising when playing the ‘grade’
pieces, however he brings the same dedication and conviction (backed by a clear
scholarly understanding) to all this music no matter how elementary or
technically difficult. The sound quality is excellent, with both the piano tone
and the general ambience impressing me more than on the earlier disc.
When I reviewed Christopher
Howell’s Land of Sunset Glories back
in 2009, I proposed that the only problem was that he had ‘teased us’: it
certainly left this listener wanting more of Stanford’s piano music. Howell
told me then, that the entire catalogue of piano music, including works still
in manuscript, would require some 6 CDs.
I also noted in my review that it could be difficult to ‘present the
‘collected’ works now that he has started to ‘cherry-pick’ – suites and groups
of pieces really ought to be kept together – the great with the less good,
even.’ Howell has resolved this obvious problem by starting over again. He told
me that all the pieces on Land of Sunset
Glories ‘will be recorded again for consistency
of acoustic’ – this is essential as the piano and venue have changed. I also
note that he has presented multiple ‘movement’ works in order and together.
This is
an immense project, but one that I believe is ultimately important, worthy and
a major contribution to recorded British music. I eagerly and impatiently await
succeeding releases in the series.
Track Listing:
Charles Villiers STANFORD (1852-1924)
CD1
Six Waltzes (1876)
Three Waltzes, op.178 (pub. 1923)
Six Characteristic Pieces, op.132 (1912)
Five Caprices, op.136 (1913)
CD2
Six Sketches (Primary) (1918)
Six Sketches (Elementary) (1918)
Three Fancies (1924)
Five Irish Folk-Tunes, specially arranged (c.1922)
Twenty Four Preludes in all the keys, op.163 (1918)
Christopher Howell (piano)
SHEVA SH115
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