A few weeks ago, I reviewed the final
(fifth) volume of ‘The Complete Organ Works’ of Charles Villiers Stanford. I am
fortunate to have previously explored the first
and fourth
volumes for MusicWeb International. John Quinn examined Volume
2 in these pages. On publication of my latest review, it was realised that
no-one had contributed their thoughts on the third volume of this major cycle. So,
here I make amends, and present my opinion on what to me, is the most enjoyable
of all five discs.
A great place to start exploring
this disc is with a piece not originally composed for the organ: the ‘Scherzino’
which is the third of Six Sketches for piano and violin, op.155 (pub. 1918). The original can be heard on Alberto Bologni
and Christopher Howell’s exploration of the complete works for violin and piano
(Sheva
SH100). The present ‘Scherzino’ was arranged in 1934 by Stanley Roper,
former sub-organist at Westminster Abbey. It is a vibrant little piece that
trips along quite unconcernedly. Roper also arranged the ‘Minuet’ and the ‘Gavotte’
from these Sketches for organ solo: they appear on Volume 5 of this cycle.
There is a wee discrepancy here
in the work’s title. The track listings on the CD cover refers to ‘Three Pieces
for piano and violin, op.155 whereas the liner notes correctly identify Six
Sketches for piano and violin, op.155. They were originally printed as two
volumes of three sketches (I understand: there is a wee bit of doubt). Their
numbering was, Book 1: 1. Minuet, 2. Morris-Dance and 3. Scherzino; Book 2: 4.
Arietta con variazioni, 5. Gavotte and 6. Bourrée.
Frederic Hudson and Paul Rodmell
in their respective catalogues, possibly following John F Porte’s Charles Villiers Stanford (London, 1921),
cites them as 6 Easy Pieces.
The other fugitive piece on this
CD is the Canzona, op.116, no.2 which was published in 1910. Its companion
piece, ‘Te Deum Laudamus’ was included in Volume 2 of this series. Jeremy
Dibble explains that this Canzona is conceived as ‘an operatic scena’ which
begins with a cavatina-like melody, before developing into a dramatic central
section. For the record, a ‘cavatina’ was a song in an opera which was
typically less-complex or ornate than an aria. Soon the opening theme is
reprised, but now presented in a more sophisticated guise. The title, ‘Canzona’
implies an instrumental work that is largely (but not necessarily entirely)
polyphonic in character.
The Three Preludes and Fugues, op.
193, are the opening works on this CD. They were composed by the end of 1922
and dedicated to Dr Henry William Richards (1865-1956) the then organist at
Christ Church, Lancaster Gate, London. The three Preludes and Fugues are in C
major, C minor and B minor respectively.
I wonder at Jeremy Dibble’s use
of the word ‘pedagogical’ to describe these three works. Usually, that term
implies that they have technical competency, but lack emotion or interest.
This, in my opinion, is not the case with these Preludes and Fugues. I have not
had an opportunity to study the score, however, listening to them a couple of
times, reveals music that is full of life and not inconsiderable depth for
small-scale pieces. The formal background, is based on Bach 48’ Preludes and
Fugues ‘The Well-Tempered Clavier’, rather than his extended works for the
organ. Mendelssohn’s Three Preludes and
Fugues, op.37 (1837) are also possible exemplars. Dibble quotes Harvey Grace’s
comments that Stanford’s Preludes are ‘well-contained monothematic’ pieces and
the Fugues are well-constructed and imaginative.’ They are models of
‘compactness’ and can never be described as outstaying their welcome. My
favourite section of Stanford’s op.193 is the gigue-like fugue from the C Minor
P&F.
John Porte (op.cit.) declared
that Stanford’s Sonata No.4 ‘Celtica’ in C minor, op.153 (1918) is probably
‘the grandest’ of the five examples of the genre. He cites its ‘stirring…strength’
and the ‘beauty and [elemental] feeling, full of the romanticism of the Celt…’ On the other hand, this Sonata is not a
tone-poem about Ireland conceived for organ. I wonder if Porte has over-stated
the Irish connection?
The ‘allegro moderato’ nods to
the opening movement of Brahms’s Piano Concerto No.1, op.15, especially with
the powerful passages of trills. This ‘austere’ sound is balanced by a
Mendelssonian ‘Song without Words’, which Dibble suggests may remind the
listener of a melody used in the slow movement of the Irish Symphony.
There is a wistful feel to second
movement, a Thema con variazioni: I do not think that Stanford is quoting any Irish
(or Celtic) tune here: it is just something it in the air. The first three
variations build up in complexity, with the third having a vibrant, almost
cinema organ bounce to it. The final variation restores the sense of calm of
what is a masterly set of variations.
The ‘finale’ is based on the
well-known tune, ‘St Patrick’s Breastplate’ (I bind unto myself this day: English Hymnal 1906 Hymn 212) which is
presented in the opening pages. As the movement develops, Stanford uses a
derived tune, ‘Gartan’, to create a passacaglia. After considerable
development, the main hymn-tune re-establishes and brings the work to a
triumphant peroration.
The ‘Celtica’ Sonata was
completed in January 1918 and was dedicated to Stanford’s ‘old friend’ and
former pupil, the composer and organist Harold Darke (1888-1976).
The venerable (and oft quoted) Porte
(op. cit.) sums up the Six Preludes and Postludes, Set 2, op.105 (1908) in one
short sentence: ‘These are a further convenient little set of short organ
pieces.’ Very true and succinct, but I think it needs a little more comment.
The first set, op.101 was completed in 1907: they are recorded in Volume 2 of
this series. The present volume was published in 1908. Thy are printed as
alternative Preludes and Postludes. The first is based on Orlando Gibbons’ Song
34 ‘The Angels’ Song’ which Stanford uses in the pedal part. The second, a ‘Postlude’,
makes use of fragments of Gibbon’s Song 22. This is a short, powerful voluntary.
The following ‘Lento’ is (I understand) an original tune, which appears in
various guises: it is the loveliest of the set. Postlude 4, an ‘allegro
moderato’, features Gibbon’s Song 24, with intricate parts on the manuals and
considerable vivacity. The Trio, (No.5) is the most chromatic of these pieces
and involves regular changes of manual. The final number, which is the best
known of both sets of Preludes and Postludes is a vigorous piece in 6/4 time
opening in D minor. The middle section is thoughtful, with running quavers
throughout, before the work concludes with a triumphant restatement of the
opening themes, now in the relative major.
Daniel Cook’s playing of all
these pieces is quite simply marvellous. I need say no more on that score. He
is a tremendous advocate for Stanford (and many other composers). I
enjoyed the vibrant sound of this CD: it has a presence and immediacy that
gives the listener the impression that they are sitting in the cathedral.
The organ at Salisbury Cathedral
is basically a splendid ‘Father’ Willis instrument, which was originally
installed in 1876-7. Henry Willis considered that it was his most significant
instrument: Sir John Stainer stated that it was a more impressive organ than
that installed in St Paul’s Cathedral. Since then, it has been rebuilt,
restored and cleaned several times. The most recent restoration was by Harrison
and Harrison in 2006.
As with the entire cycle of
Stanford’s organ music, the essential liner notes are by Jeremy Dibble. They
include detailed information about the music and the organ. The specification
for this superb instrument is (naturally) included, as well as biographical
notes on the organist.
Daniel Cook combines a busy
freelance career with that of Sub Organist at Westminster Abbey, to which he
was appointed in 2013. He is also artistic director of the Mousai Singers,
based at St David’s in Wales.
Prior to Westminster, Cook was Organist
and Master of the Choristers at St David’s Cathedral. He had a considerable
involvement in the Cathedral Festival. A
glance at the Priory CD catalogue reveals that Cook has been busy in the
recording studios. Over the past few years he has produced definitive series of
organ music by Herbert Brewer, Herbert Sumsion, George Dyson and Walter Alcock.
In addition, he has released exciting recitals from St Bees Priory, St George’s
Church Cullercoats and St David’s Cathedral in Wales.
I have been delighted to have reviewed
four of the five volumes (I have listened to them all) of Daniel Cook’s cycle
of organ music by Charles Villiers Stanford. For the first time, the
listener/enthusiast can explore every single work that CVS composed for the ‘King
of Instruments’ as well as a few transcriptions by other hands. All five discs
are essential for ‘Stanfordians.’ It is surely an undervalued and hugely
important contribution to British/World organ literature in general and
Stanford in particular.
Track Listing:
Charles Villiers STANFORD
(1852-1924)
Three Preludes and Fugues, op.193 (1922)
Canzona, op.116, no.2 (1910)
Sonata No.4 ‘Celtica’ in C minor, op.153 (1918)
Six Sketches for piano and violin, op.155, no.3 Scherzino
(arr. E S Roper) (1917/34)
Six Preludes and Postludes, Set 2, op.105 (1908)
Daniel Cook (organ)
Rec. The Organ of Salisbury Cathedral, 7-9 January 2015
PRIORY PRCD 1146
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