Two
of my colleagues (Jonathan Woolf
& John Quinn) at MusicWeb
International have written excellent and well thought out reviews of this
important two CD set of Herbert Howells’s ‘Complete Works for Violin and
Piano.’ I find that I cannot disagree with their assessments. For obvious
reasons, they have concentrated on the four major compositions on this release:
The Violin Sonatas. I feel that I cannot add anything novel to what they have
said. So, I am going to consider (belatedly) the miniatures in a little more
detail than they have. I have investigated the composer’s catalogues and found
a ‘missing’ work.
All
that said, I was impressed with the Violin Sonatas, most especially with the
World Premiere Recordings of the Sonata in B minor (1911) and the ‘restored
original version’ of the Sonata No.2 in E flat major, op.26 (1917). Of interest
is the ‘alternative opening’ for the B minor sonata.
The
seven shorter pieces make a great introduction to Howells’s violin and piano
music for those who may find a sonata lasting for more than 40 minutes a wee
bit of a challenge. I reviewed these two CDs in chronological order, so eventually
reached the Three Pieces op.28. These were published together in 1928. However,
they were written some ten years previously. The opening ‘Pastorale’ is often
dreamy and owes much to Debussy. But ‘reverie’ is not the only emotion here.
There is anguish and even pain, which may be a consequence of the year it was written
(1917). Howells has used a modal melody, with just the occasional hint at a
whole tone scale. Towards the end, the violin plays a cantilena that may remind
listeners of Vaughan Williams’s A Lark Ascending with its final upward
ascent.
Rupert
Marshall-Luck has swapped the second and third pieces of this Suite around from
the published order. ‘Luchinushka’ was completed during February 1918. This is
a deeply wrought lament with little optimism, but a great deal of beauty. The
final number here is the lovely ‘Chosen Tune’. I hope I will be forgiven for elaborating
on this short, but ultimately flawless work. It was written in 1917 to
celebrate Herbert Howells’s engagement to Dorothy Dawe. The composer
uses ‘Chosen’ as a symbol that stands for Churchdown Hill (also known as Chosen
Hill), which is near Hucclecote, Gloucester. From the top of this 509ft hill
there is a panoramic view over the
Vale of Severn, Gloucester, the Cotswolds, Cheltenham and even as far as the Malverns
and Wales. Churchdown Hill is
home to the historic sites of Mussell Well and the so-called Roman Steps, and
alas, a radio transmitter. This hill was a favorite haunt of Herbert Howells,
Ivor Gurney, Gerald Finzi and Dorothy Dawe. In 1916, Howells had dedicated his
great A minor Piano Quartet ‘To the Hill at Chosen and Ivor Gurney who knows
it’.
‘Chosen
Hill’ was later arranged for piano solo. In 1920, this was played by the
organist George Thalben-Ball at the Howells’s wedding at
Twigworth Church. It featured as part of an organ ‘fantasy’ woven around
special contributions from Holst, Stanford, and Vaughan Williams - amongst
several others.
For me, ‘Chosen Hill’ (in either
incarnation) is one of the loveliest pieces ever written by a British composer.
It is to instrumental music what Charles Villiers Stanford’s ‘Bluebird’ is to
choral music. Absolute perfection.
Finally, George Thalben Ball played ‘Chosen Tune’ on the organ of Putney
Vale Crematorium at the composer’s funeral in 1983. It was a fitting
testimonial.
The
liner notes pick up on the contrast between the title of the Cradle Song
and the music that Howells has composed. This is hardly a lullaby, but a dark
and melancholic little ‘threnody’ which builds to an acerbic climax. The double
stopping in the opening and closing sections add to its intensity and concentration.
‘Cradle Song’ was completed on 2 July 1918 and was planned to be the first of Four
Pieces for violin and piano, op.9.
The
‘Slow Air’ is cleverly designed. It presents two contrasting themes which are
not developed but are reprised in a ‘condensed’ manner. It is delightful and
belies its pedantic origins. More fun is the bouncy Country Air. This number
ticks all the boxes for rustic jollity, tinged with just a hint of sadness.
Lots of exciting fiddle playing with an equally energetic piano accompaniment.
Both were composed for Associated Board Exams.
There
is no evidence as to when the ‘Lento Assai Espressivo’ for violin and piano was
composed. It is assumed to date from around 1918. Whatever its status, it is
heartbreakingly beautiful. Lasting for just under four minutes, it explores a
straightforward melody with a sympathetic accompaniment. After a passionate
climax, the music sinks into a reverie. There is a modal feel here that nods
towards Vaughan Williams. It was a great privilege to hear this piece for the
first time.
As
a completist, I checked the works recorded here against the catalogues included
in Christopher Palmer’s Herbert Howells: A Celebration (Thames, 1996)
and The Music of Herbert Howells edited by Phillip A Cooke and David Maw
(Boydell Press, 2013). One early number is the attractively titled ‘Damsons’
for violin and piano. This survives only as incomplete sketches. It was
apparently destined for inclusion in the Three Pieces, op.28. Completely
missing is the ‘Poem’ composed c.1919.
Equally elusive is an ‘Allegro inquieto’ which is also unfinished. It
dates from the 1950s. One omission that could have been included was ‘A Croon’.
This was published in the Associated Board 1927 Grade 1 Examination Pieces
for violin in 1925. Being only Grade 1, it was likely considered detrimental to
the composer’s reputation to incorporate it into this survey. Rupert Marshall
Luck told me that he struggled as to whether to include it or not. On the other hand, as indicated above, the ‘Slow
Air’ and the ‘Country Tune’ were also examination pieces and are recorded here.
These were more advanced being for Grade 4 and above players.
Of
huge added value is the dissertation length essay provided in the liner notes.
This is in two parts. Paul Spicer has provided the composer’s biographical
details, has contextualised the sonatas and presented a rationale for the
editing process. Rupert Marshall-Luck has written the detailed programme notes.
These include several musical examples, including comparisons between Elgar’s B
minor Violin Concerto, op.61 and Howells’s B minor Sonata. Of especial interest
is the extract from the manuscript showing the alteration made by Howells to
the opening movement of the B minor sonata. There are the usual biographical
details of the performers and an overview of the EM Records project.
As alluded to in my opening
paragraph, this is an excellent recording in every way. From the repertoire,
the performance by Rupert Marshall-Luck and Matthew
Rickard, the sound recording and the documentation, this is an ideal CD
release. It will be essential listening for all Howells’s enthusiasts (I am
one) for many years to come. It does not eclipse the Hyperion CD (CHH 55139)
which includes the three numbered violin sonatas but adds value to it. And
being the ‘Complete Works’ (see exceptions noted above) it will provide
students, players, and historians with an ideal base from which to generate
further recitals and analytical assessments.
Track Listing:
Herbert HOWELLS (1892-1983)
CD1
CD1
Sonata
for Violin and Piano in B minor (1911)
Slow Air
(1927)
Country
Tune (1925)
Sonata for
Violin and Piano No 2 in E flat major, op.26 (1917)(Restored Original Version)
Sonata for
Violin and Piano in B minor – alternative opening
CD2
Sonata
for Violin and Piano No 1 in E Major, op.18 (1918)
Cradle
Song, op.9 no.1 (1918)
Lento Assai
Espressivo (c.1918)
Sonata for
Violin and Piano No 3 in E Minor, op.38 (1923)
Three
Pieces for Violin and Piano, op.28 (pub.1928)
Rupert
Marshall-Luck (violin)/Matthew Rickard (piano)
rec. 1-3
November 2013, Wyastone Concert Hall, Wyastone Leys, Monmouth.
EM
RECORDS EMRCD019-20