‘Smart, well-written and knowledgeable’ – Saga Magazine
Monday, 31 August 2020
British Prom Premieres Revisited 1970 Part 3
Saturday, 29 August 2020
It’s not British but…Ernst Krenek: Piano Music, Volume 2
The hermeneutic for understanding
(and hopefully enjoying) Austrian/American composer Ernst Krenek’s music is the
realization that his style is diverse. Virtually. every ‘ism’ in 20th
century music can be discovered in his massive catalogue. This ranges from
post-Romantic scores to electronic music, by way of atonality, serialism,
neo-classicism, jazz, and even aleatory techniques. It is just a question of
knowing the ‘aesthetic’ of the work in hand. And remember, that towards the end
of his life, his musical style began to synthesise several of these elements.
The Toccata and Chaconne, op.13 is a big work by any standards. Lasting for nearly 25 minutes, this piece had its origins in a ‘joke’ designed to fool musicologists and music critics. Krenek, and his friend the pianist Eduard Erdmann, created a subtitle for this piece, ‘…über den Choral ’Ja ich glaub’ an Jesum Christum’- ‘On the chorale, Yes! I believe in Jesus Christ.’ Alas, there is no such old Lutheran melody. It was simply a pattern of words made up by Erdmann to help him memorise the music. Yet, the title stuck. The ‘joke’ is described by the composer: ‘We anticipated that they of course would not bother to investigate whether any such chorale existed nor become suspicious on account of the utterly un-chorale-like melody which consisted of wide skips and chromatic progressions, and would indulge in remarks on my treatment, or mistreatment, as the case may be, of the ‘well-known’ chorale. It was not hard to predict that in this calculation we were absolutely right.’
The Toccata and Chaconne was
completed in 1922 and tends towards atonality. It is a powerful work, that
explores a wide variety of moods. Despite the ‘joke’ this is a work that could
well do much to encourage a timid listening public into coming to terms with a
musical style that is now at least a century old- and still detested by many
‘music lovers.’
This great work had a follow-on.
Using the same ‘chorale’ Krenek created a ‘Little Suite’, op.13a, presenting
the melody in several formal constructs – ‘Allemande’, ‘Sarabande’, ‘Gavotte’, ‘Waltz’,
‘Fugue’ and ‘Foxtrot’. I guess the ‘joke’ of the Toccata and Chaconne was
carried to the extreme here. It seems that some critics were ‘hostile’ towards
Krenek for the ‘blasphemous idea of dragging the sacred [!] theme through the
gutter of dissolute, obscene jazz rhythms, after having been defiled by the
‘cacophonous’ orgies of atonality.’ Unfortunately
for the composer, this ‘jest’ was later to cause him problems with the German
authorities. As for the music, this is a lovely suite. Full of delicious
clichés and parodies, it is entertaining from the first note to the last –
provided one knows the gag!
The Zwei Suiten, op.26 (1924) were dedicated to the great pianist Artur Schnabel. The movements in these suites are not given titles, only tempi instructions. Krenek does not deploy wit here so much as a serious reflection on ‘modern’ dance forms. Out go the ‘sarabande’ and the ‘gigue’, in comes the ‘Foxtrot’, the ‘Charleston’ and the ‘Tango’. Yet, it is the ethos of these dances that is explored: there is virtually no pastiche. This is serious music rather than flippant. Both Suites are worthy of the attention of contemporary pianists.
Of all the works on this CD, the Piano Sonata No.5, op.121 represents the composer doing his own thing. It was written in 1950, when the intelligentsia in Darmstadt and other centres of learning were endeavouring to evacuate music of any tonal references and attempting to organise every aspect of compositional technique by ‘integral serialism.’ What Krenek has done in this Sonata is to create a ‘serial’ work that is tightly controlled by the tone row. But he has not gone to the extent of total organisation that characterized the music of, say, Pierre Boulez at this time. Despite my best endeavours I have never really got my mind around ‘integral serialism’, I understand (to a certain extent) how it is ‘done.’ But I do not ‘get it’ as a form of musical expression. I imagine that precious few composers use this methodology these days. The whole project has passed into history as a lost cause. (Naturally, I stand to be corrected on this last statement!).
The liner notes explain that,
despite this work being highly ‘organised’, there are indeed ‘allusions both to
the thematic dualism of nineteenth-century sonata form, and to traditional
tonality itself (especially through the emphasis of the interval of a third,
and through the use of scalar passages on the ‘white’ keys of the piano across
all three movements).’ Krenek’s Sonata
is a success, And the reason is that his innate musicality has overcome the
demands of the ‘process’. He has created a work of art that uses ‘total’ organisation
but at socially distanced length! And a good piece it is too.
The final work on this CD, ‘Sechs Vermessene’, Op. 168 was written in 1958. The title can be literally translated as ‘Six Measures’. Yet the ethos of the work may require a subtler interpretation. ‘Vermessene’ can mean ‘measured’ (as in restrained or thoughtful) as well as ‘self-willed.’ These pieces do deploy ‘integral serialism’. This means that not only are the notes derived from the 12-tone series, but rhythm, dynamics, and density. Around the time that Krenek wrote the ‘Sechs Vermessene’ composers were beginning to experiment with aleatory (chance) music. Many felt that ‘integral serialism’ has reached an impasse. The liner notes explain that each ‘Measure’ ‘explores in epigrammatic fashion a rarefied aspect of musical structure…subject to serial organisation.’ Without the score and the tone row it is difficult to work out what is happening. But is appears that Krenek has crossed the line from ‘complete control’ into ‘improvisation’. These noticeably short pieces are often quite beautiful (in their own way) and can also be seen to nod towards ‘free-jazz.’
I enjoyed every piece on this
imaginative exploration of Krenek’s piano music. I have not heard Volume 1
(alas) in this cycle, however it has been reviewed
for these pages by Jonathan Woolf. The liner notes by Peter Tregear make
essential reading: I have relied on them heavily for my assessment of this
disc. Ernest Krenek certainly has a sympathetic campaigner in Ukrainian born
pianist Stanislav Khristenko.
I understand that only the Zwei
Suiten, op.26 is a ‘first recording.’ It is my loss that I have not heard these
pieces in other versions. Sadly, it would seem unlikely that this piano
repertoire will feature in many piano recitals in the United Kingdom. I look
forward to succeeding volumes in what I hope will eventually become a complete
cycle of Ernst Krenek’s piano music. Meanwhile, I must get myself up to speed
with this rewarding composer’s catalogue of music.
Ernst Krenek (1900-91)
Toccata und Chaconne über den Choral ’Ja ich glaub’ an Jesum Christum’, Op. 13 (1922)
Eine kleine Suite von Stücken über denselbigen Choral, verschiedenen Charakters, Op. 13a (1922)
Zwei Suiten, Op. 26 (1924)
Piano Sonata No. 5, Op. 121 (1950)
Sechs Vermessene, Op. 168 (1958)
Stanislav Khristenko (piano)
Rec. 3 and 4 January and 7, 8 and 29 March 2016 in the Clonick Hall, Oberlin Conservatory of Music, Oberlin, Ohio
TOCCATA CLASSICS TOCC 0399
With thanks to MusicWeb International where this review was first published.
Friday, 28 August 2020
Rob Keeley: Orchestral Music
Tuesday, 25 August 2020
British Prom Premieres Revisited 1970 Part 2
Saturday, 22 August 2020
British Prom Premieres 1970 Revisited Part 1
Wednesday, 19 August 2020
Edward Cowie: Orchestral Music on Metier
In 1984 Hyperion Records (A66120) released a significant
LP of two major works by Edward Cowie – the Clarinet Concerto No.2 and the
Concerto for Orchestra. This was just after the European advent of the compact
disc in 1983. Alas, this recording never made it onto disc - until now. In
danger of indulging in hyperbole, I think that if any two pieces of British music
from the late 1970s/early 1980s demand to be re-presented to the musical
public, it is these. In fact, this CD is my record of the year, so far. I
should note my reliance on the original Hyperion sleeve notes by Andrew Burn
and conversations with the composer, whilst preparing this review. For details
of Edward Cowie’s life and times, I refer the reader to the opening paragraph
of my review
of the String Quartets published in these pages, as well as the composer’s
personal website.
The hermeneutic for understanding Edward Cowie’s
music is straightforward, even if the music is complex. The composer wrote that
‘Art is illusion and about transforming things: my music feeds on experiences,
surroundings, the tangible and intangible world, on things that move and
change.’ In other words, ‘metamorphosis’.
On the other hand, nature, topography, and artworks are key stimuli in this
music. I have noted before that Cowie
has a wide range of extra musical interests and talent including ornithology, field
studies, painting, and broadcasting. These pursuits all feed into his
compositions.
It is no secret that the wonderful land/seascape of Morecambe Bay has inspired much of Cowie’s music. Such places as Leighton Moss, Martinmere and the wide panoramas gained from Hest Bank have made themselves felt in his music. An early celebration of this topography was found in his choral Gesangbuch (1975), which is effectively Cowie’s Four Seasons. This music displayed a vast range of timbres and extended vocal and instrumental techniques.
The Concerto for Orchestra also celebrates the
numinous impact of Morecambe Bay. The work was completed in 1982 and was
premiered by Royal Liverpool Philharmonic Orchestra conducted by Howard
Williams. It is dedicated to fellow
composer, and Cowie’s teacher, Alexander Goehr. The piece carries a subtitle,
which allows the listener to appreciate what is going on: ‘Studies in the
Movement of Water.’ It is known that Cowie made an extensive set of drawings,
paintings and photographs of the little Rivers Kent, Greta, and the larger
Lune, all flowing into Morecambe Bay and out into the Irish Sea. The Bay is
surrounded by a varied landscape: The Lake District Mountains, the pastoral
fields of Furness, and the wide-ranging sand and mud banks, all showcased by
amazing sunsets. On the downside, there are wind factories, a nuclear power
station and gas platforms - all of which are (possibly) necessary evils.
Andrew Burn has observed that the waters of the bay
‘create a kaleidoscope of currents’ that play into the pre-compositional
material that Cowie had generated. The composer has written that this provides
‘a continuum alternately turbulent, still, turbulent, of this wonderful
ever-changing element: a continuous stream of impulses which can move as a
great wave or a small ripple.’ All this imagery
has been poured into a three-part musical mould. The opening and closing
sections, which are fast and dissonant, bookend a slow, magical atmosphere that
is almost ‘tonal’ in its impact. There is no repetition as such in this music, which
develops organically from the start to finish. I hazard this opinion without
studying the score. Instrumentally, the Concerto for Orchestra presents
overlapping sounds. No matter how the orchestra has been divided up, there is
always depth to the proceedings. It is like Morecambe Bay itself. Water lies at
various depths and currents that move and criss-cross in a multitude of
patterns. The music often sounds dissonant in a positive way, with some degree of
consonance to provide contrast and repose.
The whole experience is a virtuosic display for the entire orchestra: it is not designed to showcase individual soloists. Despite the intricacy of the Concerto for Orchestra, this present performance never loses its place or gets out of hand. As The Times (10 September 1983) reviewer notes at the work’s Prom Premiere (9 September 1983) the Royal Liverpool Philharmonic under Howard Williams ‘met the rising tides of complexity with impressive staunchness.’
The Clarinet Concerto No.2 was composed some 45
years ago in 1975. It was written ‘in homage to the virtuosity and artistry of
Alan Hacker.’ The work is scored for brass, percussion, and strings. Apart from
the soloist, there is no woodwind. The
work was premiered by Janet Hilton and the BBC Northern Symphony Orchestra
under Norman Del Mar in 1977.
One criticism levelled at this Concerto needs to be
addressed. AW writing in The Gramophone (January 1985) suggests that
‘one fears that the soloist may be reduced to the role of a mere bystander by
the sheer power of the orchestration and the urgency of the orchestral debate.’
In defence, the composer has reminded me that the character of the work pitches
elemental forces of nature against the fragile, and sometimes fearful, near
madness of John Ruskin. Readers will recall that the great Victorian polymath owned
Brantwood on the shores of Coniston Water. It is well known that Ruskin was
beset by phobias which sometimes occurred as he walked the fells. In swirling
mists, he would imagine that he was beset by ‘dragons bent on his destruction.’
It is this struggle between these horrors and the tranquillity of the lakeside that
infuses the Clarinet Concerto with its intensity, drama, and ultimate repose. Sometimes,
it seems that even the soloist may lose their sanity. Quite deliberately, then,
the clarinettist is occasionally nearly submerged.
This must be one of the most demanding clarinet concertos in the repertoire: it is certainly one of the best. As alluded to above, Alan Hacker is never ‘phased’ by problems of projection in this recording. The balance of musical dynamics is critical in this work. Cowie has told me that he spends more time crafting them [dynamics] than any other aspect of the composition. The effect of this labour is self-evident to the listener.
The excellent text written by Andrew Burns from the original Hyperion LP has not been included in the liner notes. I understand that this was for copyright reasons, but it seems to me a significant omission. There is little technical, historical, or analytical information given in the new notes about either work. I was fortunate to have a scan of the rear cover of the LP so was able to consult this in the preparation of my review. Apart from that, the liner notes are excellent, with a stunning painting by Heather Cowie entitled ‘Ocean Harmony.’ Interestingly, the sleeve of the original LP was painted by Edward. There is also an essay by the composer, ‘34 Years On’ (how time flies) in which Cowie considers his response and recalls his reaction to both works. There is an excellent drawing of the composer writing his Concerto for Orchestra made by John Eveleigh and an evocative photo of Cowie on the shores of Morecambe Bay in 1985. How we looked in those days! A short appreciative note by the conductor Howard Williams and a good biography of the composer conclude this insert.
The performance of both these works are first rate.
Age has not dimmed their power and impact. The recording engineers have done an
excellent job repristinating this Hyperion recording. All the overlapping
textures and ‘structural layering’ of both works are always clear and focused. The
soloist, the orchestra and the conductor have done a splendid job in keeping
all these interlocking musical events in equilibrium.
This amazing CD presents music that is in the ‘premiere
division’. Edward Cowie’s work is required listening for all enthusiasts of 20th
century British Music. The Concerto for Orchestra takes its honourable place in
a trajectory from Paul Hindemith to André Previn, by way of major examples by Béla
Bartók, Roberto Gerhard, and Michael Tippett.
Finally, I was delighted to catch up with this work:
I have not heard it since the Prom Premiere at the Albert Hall half a lifetime
ago.
Track Listing:
Edward COWIE (b.1943)
Clarinet Concerto No. 2 (1979-80)
Concerto for Orchestra (1981-82)
Alan Hacker (clarinet), Royal Liverpool Philharmonic Orchestra/Howard Williams
Rec. Philharmonic Hall, Liverpool on 2 November 1983 (Concerto for Orchestra). 29 January 1984 (Clarinet Concerto No. 2)
MÉTIER msv 92108
Sunday, 16 August 2020
Ian Venables: Requiem
For this review, I rely heavily on the excellent liner notes written by John Quinn. Ian Venables originally demurred from composing a full-blown Requiem. However, after agreeing to write a short work suitable for a memorial service, he turned to the Latin Mass of the Dead, and selected the Introit, ‘Requiem aeternam’. This was duly written and performed at a service commemorating the life and death of Doreen Somerville, the mother of the composer’s friends Bryce and his sister Cynthia. After the success of this beautiful piece, Adrian Partington, convinced Venables of the need to ‘complete’ his Requiem. It was premiered by the Gloucester Cathedral Choir during November 2018.
Ian Venables has omitted certain sections from the ‘traditional’ order of the Requiem, including most of the long ‘Dies Irae’ (Days of Wrath), except for the final ‘Pie Jesu’. Neither has he set the ‘In Paradisium’ but concludes the work with the exquisite ‘Lux æterna’ (Eternal Light).
The overall
impression of this Requiem is one of continuity with manyy of the great
examples from the past, including obvious exemplars such as Fauré and Duruflé.
It presents a studied use of modal melodies and harmonies, but not eschewing
conventional tonality and occasional excursions into chromaticism. As has been
pointed out by Roderic Dunnett, Venables does not fall for the static, added
note harmonies of Arvo Pärt and his acolytes. Neither does he utilise the ‘pop’
idiom of Andrew Lloyd Webber. If anything, this work lies in a trajectory of
good solid Anglican choral writing including such luminaries as W.H. Harris,
Charles Wood and not forgetting Ralph Vaughan Williams.
A
perfect balance has been struck between contrapuntal and homophonic writing as
well as some delightful unison passages. The listener will immediately notice
the effective organ accompaniment. This is hardly surprising as Ian Venables is
also a wholly accomplished organist.
There are recurring elements in this score that display the composer’s skill at creating a subtly unified work. In this cyclical work, the first movement presents material that occurs throughout the piece. The entire score is largely restrained, making the occasional musical outbursts infinitely more effective. Venables has written (introduction to the published score) that, ‘As a song composer, I have naturally included elements of word-painting to highlight key moments in any text and I felt that the Requiem required the same approach.’
Is
this Requiem designed for liturgical use or the concert hall? It has been used during
the All Souls Requiem Eucharist at Gloucester Cathedral, with considerable
critical acclaim. On the other hand, I believe that if it were orchestrated it
would neatly fill the first or second half of a ‘secular’ orchestral/choral
concert in one of our large venues.
Finally, although, I ‘get’ the whole concept of ‘Requiems’ as liturgical events, I feel that this work, written in Worcester and premiered in Gloucester, is equally evocative of the River Severn, which flows through both towns. I recall Herbert Howells’s masterpiece, the Missa Sabrinensis, which I believe is a ‘tone-poem’ evoking the mystery of Sabrina’s River as a metaphor for an approach to God or the ‘Ground of Being’. This is delivered through ‘nature mysticism’ and a connection to history, both Christian and Pagan. I think that Venables’s Requiem provides the listener with an equally tangible connection to the numinous. I for one, would be happy to approach Eternity listening to the beautiful ‘Lux æterna’ from Venables’s Requiem whilst spending my last moments on the banks of the Severn near Framilode.
My favourite anthem on this CD is John Sander’s ‘Dedication’ written in 2003 for a wedding celebration. The text is by the American Congregationalist Minister Howard A Walter (1883-1918). This a near perfect fusion of words and music that rises and falls to two restrained climaxes. It is a positive affirmation of a ‘plan for life’, ending with the lines ‘I would look up, and laugh, and love, and live.’ What more can we ask of living? John Sanders was organist and Master of the Choristers at Gloucester Cathedral between 1967 and 1994.
If I am honest, John Joubert’s ‘O Eternal God’, op.183 is my least favourite piece on this remarkable CD. The anthem was composed to celebrate his 90th birthday during March 2017. The text, which is a short prayer, was written by the English cleric Symon Patrick (1626-1707), onetime Bishop of Ely. The anthem seems to me a little unbalanced between the perfect repose of the opening and the anguished cry of the dissonant harmonies and the high-pitched melismatic phrases in the middle and concluding sections. This does not reflect the tenor of the text. Interestingly, Ian Venables studied orchestration with Joubert in the early 1990s.
Ivor Gurney’s ‘God Mastering Me’ is a rare opportunity to hear a choral work from his pen. Best known for his large number of song settings, Gurney wrote precious little for choir. The liner notes mention a Psalm chant and two anthems: ‘Since I believe in God the father almighty’ (1925), and the present work composed between 1921 and 1922. Gurney set the first verse of Gerard Manley Hopkins’s well-known, but I guess rarely read poem, ‘The Wreck of the Deutschland’. I have not seen the score for this work, but clearly Gurney eschews counterpoint for a largely chordal setting. The organ part is impressive and important. The anthem was edited for performance by Venables and was premiered in 2015 by the present choir.
Ian
Venables ‘O Sing Aloud to God’ (1993) is a rare treasure. In fact, it is the
composer’ earliest choral composition. It was commissioned by Cantorus Novi and
their musical director David Sorward and was premiered in Cirencester Parish
Church on 29 January 1994.The anthem is a setting of a text drawn from three
psalms, 77, 81 and 107. The work balances ‘jubilant’ opening and closing
sections with a deeply felt mediation. The listener will hear echoes of Howells
and Vaughan Williams in this anthem. Strangely, I was unable to tie the text
down to the relevant psalms.
The liner notes explain that is anthem dedicated to Christopher Palmer (1946-95), who was a musical polymath, best recalled, perhaps, for his Herbert Howells: a centenary celebration published by Thames in 1992, editing The Britten Companion (1984) and his masterly Impressionism in Music (1973).
The
liner notes give a great introduction to all these works as well as setting
them in context. There are short biographies of the composer, the Choir of
Gloucester Cathedral, their director Ian Partington and Assistant Director and
Cathedral Organist, Jonathan Hope. The texts of all the works are included with
an English translation of the Latin Requiem. The centrefold features a black
and white photograph of the choir. The recording, made in the Cathedral, is
ideal in every sense. Sitting in the ‘music room’, close your eyes and you are
in there in the nave. And the performances are always sympathetic, clear
sounding and exquisitely poised.
This
is a CD to be recommended. I enjoyed the anthems, with one exception. The main
event is clearly Ian Venables transcendent Requiem, which surely takes its
place with Fauré, Duruflé and Howells. It is truly a work of devotion, both to
God and the topographical ambience of the Three Choirs Festival landscape.
Track Listing:
Ian VENABLES (b.1955) Requiem, op.48 (2018)
John SANDERS (1933-2003) Dedication (2003)
John JOUBERT (1927-2019) O eternal God, op.183 (2017)
Ivor GURNEY (1890-1937) ed. Ian VENABLES God mastering me (1921/2)
Ian VENABLES O Sing Aloud to God (1993)
Choir of Gloucester Cathedral/Adrian Partington; Jonathan Hope (organ); Catherine Perfect (alto) (Kyrie); Arthur Johnson (treble) (Pie Jesu); Charles Lucas (treble) (Joubert); Alex Taylor (treble) (Kyrie); Matthew Clark (baritone) (Libera Me)
Rec. Gloucester Cathedral on November 12 & 13, 2019
SOMM SOMMCD 0618
Thursday, 13 August 2020
Promenade Concert British Novelties for 1920 Part 4
Monday, 10 August 2020
Promenade Concert British Novelties for 1920 Part 3
Friday, 7 August 2020
Arnold Cooke: Complete Music for Oboe and Sonata for Two Pianos
Tuesday, 4 August 2020
Promenade Concert British Novelties for 1920 Part 2
Crossings Frontpiece Dorothy Lathrop |