Many listeners will evaluate British
composer William Alwyn (1905-85) in terms of his film music scores or his cycle
of five impressive symphonies. So, it is good to come across a very short chamber
work that is not an essential part of the composer’s catalogue yet is a
delightful treat.
During the late 1930s Alwyn wrote
his ‘Novelette’ for Oxford University Press. This was part of the short lived ‘The
Oxford String Quartet Series.’ Other works published in this series included a
Gavotte and Hornpipe by Felix Swinstead (1880-1959), A Cameo for string quartet by William Heller Nicholls (1874-1939) and
a Minuet and Trio by Mancunian composer, Thomas Pitfield (1903-1999)
In 2008, Naxos issued a recording
of the Novelette, coupled with the three ‘mature’ string quartets. (NAXOS
8.570560), performed by the Maggini Quartet. Alwyn’s ‘Novelette’ is
the only example of the Oxford String Quartet Series to be recorded.
The listener needs to be reminded
that Alwyn had already composed some 13 numbered String Quartets during
the1920s and 30s which were subsequently ‘withdrawn’ just before the Second
World War. This was at a time when the composer was disowning most of his early
music. Fortunately, several examples of these ‘early horrors’ have been
recovered and are well-respected by Alwyn enthusiasts. In 2017 SOMM issued a CD
featuring the final four ‘lost quartets (No. 10-13): I hope that these will be
a subsequent issue in this series.
Andrew Knowles (CD liner notes) reminds
listeners that the idea of the Oxford series was to provide several short and
easy pieces by living British composers. He warns readers not to take the word
‘easy’ too seriously as these pieces do go well beyond ‘elementary’ level.
A ‘Novelette’ can be defined as
‘a short romantic composition…free in its form and development.’ The title
probably originated with Robert Schumann in 1838. It may also imply a ‘literary
influence’ of some kind, although none has been suggested for the present work.
Alwyn’s ‘Novelette’ follows this
pattern. It is certainly short, lasting for a little over 2½ minutes, and although
not ‘romantic’ in ethos it is approachable and characterised by rhythmic vitality.
Alwyn has compressed much of
interest into this brief timespan. The work opens with a powerful statement of
the main theme, played in unison, firstly by the second violin and the cello,
followed by the first violin and viola. After some passing to and fro, the
music becomes momentarily quiet and reflective, almost like an ‘intermezzo.’
The main theme is reprised, with a ‘drone’ in the cello part. After a short
recollection of the ‘slow music’ the ‘Novelette’ concludes with the briefest of
codas, and a loud, sharp chord.
Unfortunately, I have been unable
to trace any information about the ‘Novelette’s’ first performance. No details are
forthcoming in Craggs and Poulton’s William
Alwyn: A Catalogue of his Music (Bravura, 1985) and John C. Dressler’s William Alwyn: A Research and Information
Guide (Routledge, 2013)
Andrew Achenbach, reviewing the
Naxos CD (The Gramophone, February
2009) perceptively describes the Novelette as ‘a winsome miniature.’ An ideal
description. Reviewing this CD for MusicWeb
International (December 2008) I suggested that ‘There is nothing
challenging about the ‘Novelette’ except to say that it does not play down to
the players or the audience. It is an attractive piece that has an open air
feel to it.’ It certainly deserved its place on this disc.
Barry Kilpatrick writing for the American Record Guide (March 2009)
suggests that ‘The [CD] program ends by returning to the verve of Alwyn's
younger days. 'Novelette'…is a syncopated, contrapuntal miniature with an
interesting mixture of energy, darkness, and warmth.
Finally, Ronald E, Grames (Fanfare, July 2009) writes that ‘Its
charm and cleverness suggest that Alwyn may have been too hasty in
disowning his earlier quartet works.’ I wholeheartedly agree.
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