The liner notes explain the background
to this splendid new CD. The British composer Rutland Boughton had eight
children – from several partners - some of whom became ‘established
musicians.’ For the record Ruby
(1904-52) and Estelle (1907-72) were singers, Jennifer (1928-2001) was also a
singer, whilst Brian (b.1927) was a trumpeter.
The main protagonist for this
present CD is ‘Joy’ Boughton who was born in 1913 to the composer’s second
partner, Christina Walshe. She was to become a well-respected and highly-accomplished
oboist of her generation. Joy studied with Leon Goossens at the Royal College
of Music, before embarking on her career. Ill health prevented her from taking
up a Professorship at the college. After
her early death in 1963, the Joy Boughton Memorial Prize Fund was established.
This was supported by big names of the day, including Benjamin Britten, Janet
Craxton and Evelyn Rothwell (Lady Barbirolli). As a matter of interest, Britten
composed his remarkable Six Metamorphosis
after Ovid, Op. 49 in 1951 for Joy Boughton: she played in Britten’s
orchestra at Aldeburgh.
On the present CD, all the
chamber works are dedicated to Boughton’s daughter except for the short
Portrait for flute, oboe and piano, which was possibly written for Leon
Goossens.
In addition to the works recorded
here, there are two Oboe Concertos. The first, composed in 1936, was dedicated
to Joy, with the second being written for Leon Goossens in 1943. The first of
these concertos has been issued on Hyperion Helios CDH55019 (1999) with Sarah
Francis as soloist. Listeners await a recording of the second concerto.
The earliest work on this CD is
the ‘Portrait’ for flute, oboe and piano. The liner notes explain that little
is known about this piece. It may well have been written for Leon Goossens: he
had the score in his possession in 1961. The Portrait was completed in February
1925, at a time when Boughton was concentrating on his massive operatic projects.
There is no record of its premiere. It is a wonderful piece that is full of
sunshine and optimism. There are touches of impressionism here and there. The
dialogues between the flute and the oboe are delightful. It is a work that
ought to be in the repertoire of all wind ensembles that include this grouping
of instruments.
I moved onto the next piece, in
chronological order - the Oboe Quartet No.1, completed during April 1932. Once
again, there is no record of its first performance, however, Joy did include it
in several recitals and made a private recording. There are three movements:
the opening ‘allegro vivace’ is in sonata form, this is followed by a vivacious
‘scherzo’ and the work concludes with a satisfying set of variations on an
unidentified folk-theme. The Quartet has been described by the composer, as
‘small, sweet and Spring-like, with some of Spring’s sadness through it…’
I fell for this work when it was
issued by Hyperion (CDA66936,1997) played by Sarah Francis and the Rasumovsky
Quartet. I still love it now in this equally well-wrought version.
The Two Pieces for oboe and
piano, (1937) ‘Somerset Pastorale’ and ‘The Passing of the Faerie’, were
originally two discrete pieces. The first is based on a genuine folk-song, ‘Ye
little birds that sing.’ This is a charming pastoral ramble, in the nicest sort
of way. The second is a ‘joke’ or ‘parody’, with Boughton writing a ‘take’ on
the onetime famous ‘Faery Song’ from his Celtic-inspired opera The Immortal Hour. However, any serious
intent is blown away by a bouncy folk song. The opening music is briefly
recapitulated in the final bars. An ideal recital piece for oboist with piano
accompaniment.
The Three Songs without Words for
oboe quartet were derived from musical sketches that Boughton had made for
several works that ‘did not materialise’. The opening piece ‘Whence’ may have
come from a lost score for Isolt
which originally incidental music for a play was.
The vivacious second movement, ‘Faery
Flout’ was based on music once destined for a setting of a poem by Mary Webb.
The final piece, ‘Barcarolle’ is deeper waters. This explores ‘brooding
shadows’, ‘whispering willows and summertime drowsiness.’
‘Greensleeves’ is a well-loved melody,
probably best-known in Ralph Vaughan Williams’s Fantasia. The original folk tune is often believed to have been
devised by Henry VIII, although some suggest a later date, and being imported
from Italy. Boughton’s take, written during the Second World War, is much
simpler than RVWs with no contrasting tune (Lovely Joan). On the other hand, he
does reach a level of retrospection and intimacy that is denied to that better-known
version.
The ‘latest’ work on this CD is
the Oboe Quartet No.2 which was completed during the spring of 1945. It is
unbelievable that the work had to wait until 2014 to receive ‘its first known
performance.’ Even a superficial hearing of this work reveals a masterpiece. I
guess that the underlying issue with this work was that it did not reflect
modernism of either Britten or that of the emerging serialists, such as Lutyens
and Searle.
The ‘dramatic’ opening ‘allegro’
is the most complex section of this four-movement quartet. There are certainly
several folk songs hinted at, with several less-obviously derived tunes: it is
just a continuous outpouring of melody. The
‘andante languendo’ is based on the final number of the Three Songs without
Words. It is certainly the heart of what is typically an exhilarating quartet. I
enjoyed the ‘scherzo, which has an almost jazzy feel to it with folk inspired
waltz tunes. It is lively, happy and joyful music, with only a little bit of
sad regret in the ‘trio’ section. The finale is an exuberant ‘hornpipe’ which fairly
romps along. It is certainly music to bring even the most reserved of chamber
music habitués to their feet!
As always with the Oboe Classics
label the booklet is a masterclass – with one exception. Detailed notes for
each work are preceded by a short overview setting the music in its entirety in
context. They are written by Ian R Boughton, the composer’s grandson. There is long biography of the composer and
notes about the performers. Finally. Mark Baigent has provided details about
the instruments used in this recording, which reflect the contemporary (to
Boughton) used. The exception to these notes are the fonts – grey printed on
grey, white on black etc. It may be artistically pleasing, but it does not help
older eyes gain the benefit of the information so helpfully provided.
I enjoyed every bar of this
beautifully recorded and played exploration of Rutland Boughton’s contribution
to chamber music featuring the oboe. Let us hope this CD kick starts further
investigation into the composer’s considerable catalogue of music. Certainly
every piece on this disc ought to be in oboists’ repertoire.
Track Listing:
Rutland BOUGHTON (1878-1960)
Oboe Quartet No.2 ‘For my daughter, Joy’ (1945)
Two Pieces for oboe and piano ‘For Joyance’ (1937)
Three Songs without Words for oboe quartet, ‘To Joyance,
with love’ (1937)
Portrait for flute, oboe and piano (1925)
Greensleeves for oboe quartet, ‘For Joy’ (c.1939-45)
Oboe Quartet No.1, ‘For my daughter Joy’ (1932)
Mark Baigent (oboe), Eva Cabellero (flute), Michael Jones
(piano), Sophie Barber (violin), Chian Lim (viola), Stephen Orton (cello)
Rec. Woodside Hall, Hitchin, 10-11 August 2017
OBOE CLASSICS
CC2034
With thanks to MusicWeb International where this review was first published.
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