The background
to this CD is straightforward. The booklet explains that Heritage records asked
Peter Jacobs to “compile a sequence of British piano music hitherto unrecorded.”
From a vast personal repertoire, he has selected nineteen works (some with
several movements) by a good cross section of composers. The keen reader will
note that some of this recital has been recorded before –
sometimes more than once. But the uniqueness of this album is having these
typically interesting pieces performed together.
The proceedings opens with Martin Shaw’s romp, Roundabouts. I will take it as read that all key centres are touched on in its two-minute duration. Shaw is best recalled as a composer of songs, of which there are dozens. This little number is a rare treat. Arthur Bliss’s Polonaise from his Suite for piano (1925, not 1926, I think) is acerbic. The entire work is really a sonata in disguise. In this extract there are traces of Prokofiev and Stravinsky from Bliss’s “bad boy” days. Students of Virgil will recall that an “Eclogue” is a short pastoral poem, sometimes in the form of a dialogue between two people, often shepherds. Walter Leigh’s piece, written in 1940, is a gentle conversation between himself and his teacher Paul Hindemith. It has some beautiful counterpoint and spine-tingling melodic phrases. Calcutta-born John Mayer’s tribute to his birthplace is over in a flash. The first of the Three Pieces from Calcutta-Nagar (1993), In Chandni Chauk Street, is a fleeting portrait of a large street market, Kali Temple evokes a numinous atmosphere with a definite sense of prayer and incense. The final number is a rumbustious image of The River Hooghley, the holy river in Kolkata. Lots of movement here, whether of water or people. The full set are perfect miniatures.
I love Roger Quilter’s evocative Summer Evening (1916). Like John Ireland’s eponymous piece, it does exactly what it says on the tin. It creates an atmosphere of a secret location, (perhaps) in the South Downs, near to the composer’s birthplace. Peter Jacobs is correct in highlighting the disparity between Quilter’s introspective musings and Mátyás Seiber’s Scherzando Capriccioso (1953 or was it 1944?). Does this skittish piece suggest jazz, or is it serialism, or atonality? Who cares? It is a little gem that is a child of its time. Born in Hungary, émigré composer Seiber deserves more attention from performers and concert promoters. In complete contrast, Amy Woodforde-Finden’s Kashmiri Song, extracted from her Four Indian Love Lyrics (1903) is chock full of sentimentality with a delicious melody. It is none the worse for tugging at the heart strings. This is an ideal example of Edwardian salon music.
The booklet should have stated that Herbert Howells’s Procession is the finale of his Three Pieces, op.14 written between 1918-20. It is his longest composition for piano. The other two movements were Rhapsody and Jackanapes. The Procession was the result of a nightmare: Howells was approached by a large crowd, and midst the sound of pealing bells: he was overwhelmed. It is a “million miles away from any pastoral imaginings that the listener may have constructed around the composer’s reputation.” The work reflects his interest at that time in Diaghilev and the Russian and French composers of the period. Stravinsky is evident in this, often-bleak music. The Procession was orchestrated in 1922. More fun is Arthur Benjamin’s Scherzino (1936). Not as popular in effect as the ubiquitous Jamaican Rumba, it is a remarkable exploration of will o’ the wisp rhythms and sassy harmonies. The overall effect reminds the listener of Mendelssohn rather than Modernism. My big discovery on this CD is Humphrey Searle’s powerful Vigil (France 1940-1944). This was completed (presumably) after D-Day. It was written for an album in honour of the French Resistance Forces. I am not sure if the complete album was published, however Searle’s contribution was issued by Lengnick in 1949. The music is serious, sometimes bitter, often despairing, but with just the occasional flash of light and hope. The composer’s deep interest in Liszt is clear in the pianism.
The mood lightens with Hubert Parry’s whimsical Scherzo in F. The structure includes a Schumannesque “trio” bookended by a whimsical “minuet” section. It was composed in the 1870s and was published posthumously.
Cyril Scott’s
melancholy Egyptian Boat Song was part of his five movement Egypt
Suite, (1913). Despite the esoteric ascription of this piece “To my friend,
Mrs. Marie Russak, that enlightened Seer, who brought back for me the memory of
my past Egyptian lives, these impressions are affectionately dedicated,” this
is haunting music that lives up to its image.
Peter Jacobs
notes that William Sterndale Bennett was not a twentieth century composer, but he
has included a short work to demonstrate where the ‘land without music’s’
sympathies lay, and how the achievements of Parry, Stanford and others began to
give Britain its own identity.” The Presto agitato is the fifth movement
of Sterndale Bennett’s Suite de Pieces op.24 (c.1842). Mendelssohn is
the exemplar here.
The magical Monody
(1977) by Raymond Warren is taken from his Second Piano Sonata (with the
composer’s sanction). It is simply a single line of melody with decoration. It
is a long movement, which I imagine has difficulties for the performer in
maintaining the listener’s interest. Jacob succeeds in this.
William Baines’s Seven
Preludes offers an overview of his musical achievement. Written in 1919, they
explore a wide range of moods and technical requirements. Despite this
diversity, there is a keen sense of unity and purpose about these Preludes,
when we consider their contrast. Jacob as chosen to play Nos. 1, 3 and 6. It is Scriabin who is the most obvious
influence in these pieces.
I found the Moderato from Benjamin
Britten’s Sonatina Romantica (1940) the least interesting (boring?) work
on this CD. I do feel that it could have been omitted to present the full set
of Baines’s Preludes.
We are on more significant ground
with honorary Scotsman Ronald Stevenson’s A Wheen Tunes for Bairns tae Spiel,
written in 1964 (not 1967 when they were published). For those readers who do
not speak fluent Scots, this means a Set of Tunes for Children to Play!
There are not actually many, only four. These were written for the composer’s
youngest daughter. The influence of Percy Grainger has been observed here, as
well as Bartok. The four pieces are a Croon, Drone, Reel
and Spiel. They reflect Stevenson’s ability to write (relatively) easy
piano music for a wide range of ability, without ever being patronising.
The final two compositions could
not be different from each other. The clue to Bax’s Winter Waters (1915)
is the subtitle A Tragic Landscape. It is sea music, rather than a musical
depiction of a loch or a river. For me, it is a companion to the orchestral Tintagel:
the waves pound against the base of the Cornish cliffs on a cold and stormy
winter’s day. This dark and menacing music offers no intimation of personal
companionship, apparent in the latter piece. Compare this with Trevor Hold’s “charming”
and “gentle” Tango written 60 years after the Bax. It is a lovely way to close
this imaginative and absorbing exploration of British piano music. I understand
that Peter Jacob issued a double CD on the Heritage Label of Trevor Hold’s
Piano Music (HTGCD 294/5). I have not heard this CD, but it has been reviewed here.
Each work is played with skill, diligence, lack of condescension and reveals the underlying talent of these composers.
The recording, which was made
earlier this year, is clear and vibrant. The liner notes by the pianist are
excellent, and include a short “CV.” That said, I would have welcomed composer
and work dates in the track listings: they are provided in the notes for each
piece. Also, when a track is an extract, this should always be stated.
For a few details of Peter
Jacobs’s achievement, please see my review of his British
Piano Collection Volume 1 in these pages.
This is a great conspectus of rarely heard British Piano Music. Fascinating from the first note to the last.
Track Listing:Martin Shaw (1875-1958)
Roundabouts (1925)
Arthur Bliss (1891-1975)
Polonaise from Suite for Piano (1925)
Walter Leigh (1905-42)
Eclogue (1940)
John Mayer (1930-2004)
Three Pieces from Calcutta-Nagar (1993)
Roger Quilter (1877-1953)
Summer Evening from Three Pieces op.16, (pub.1916)
Mátyás Seiber (1905-60)
Scherzando Capriccioso (1944)
Amy Woodforde-Finden (1860-1919)
Kashmiri Song from Four Indian Love Lyrics (1903)
Herbert Howells (1892-1983)
Procession from Three Pieces, op.14 (1918-20)
Arthur Benjamin (1893-1960)
Scherzino (1936)
Humphrey Searle (1915-82)
Vigil (France 1940-1944)
Charles Hubert Hastings Parry (1848-1918)
Scherzo in F (pub. post. 1922)
Cyril Scott (1879-1970)
Egyptian Boat Song from the Egypt Suite. (1913)
William Sterndale Bennett (1816-75)
Presto Agitato in F-Sharp Minor from Suite de Pieces op.24 (c.1842)
Raymond Warren (b.1928)
Monody (1977)
William Baines (1899-1922)
Seven Preludes (Nos.1, 3 & 6) (1919)
Benjamin Britten (1913-1976)
Moderato from Sonatina Romantica (1940)
Ronald Stevenson (1928-2015)
A Wheen Tunes for Bairns tae Spiel (1964)
Arnold Bax (1883-1953)
Winter Waters (1915)
Trevor Hold (1939-2004)
Tango (1975)
Peter Jacobs (piano)
Rec. 25 May 2021 Wyastone Concert Hall, Monmouth, Wales
HERITAGE HTGCD 159
With thanks to MusicWeb International where this review was first published.
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