William Wordsworth’s Sonata, op.13 was begun in 1938, whilst he was living at Hindhead, Surrey. It was finished the following year. At that time, he participated in the activities of the Peace Pledge Union and the Hindhead Fellowship of Reconciliation. As the Second World War approached, he was confirmed as a conscientious objector.
The Sonata is large-scale, lasting for more than 30 minutes. The long and involved opening movement explores several musical lines of reasoning. It opens with a shadowy Maestoso, outlining some of the material which will be examined later in the Sonata. This is soon replaced by a vigorous first subject Allegro deciso. A more expressive second subject, Allegretto, follows, calming the entire process down. The development section is complex with many changes of mood and speed. The recapitulation is regular, and, despite a tender reprise of the first subject, the movement finishes with an acerbic coda.
Harry Croft-Jackson (Liner Notes
RCS 13) likens the ominous slow movement, Largamente e calmato to “a
deeply felt, contemplative landscape” possessing the “quality of a John Piper
water colour.” This is a useful analogy.
The finale, Allegro molto,
is dance-like in its vivacity. Reference is made to the opening Maestoso
introduction before the Sonata ends with a scintillating coda.
Christopher Guild suggests that despite having “never been described as such in writing, it is difficult not to regard it as a ‘wartime’ sonata.” Despite the historical locus of the work, I feel that overall, it is positive, tending toward romanticism rather than neo-classicism.
Early criticism of Margaret
Kitchin’s recording was that “the first two movements [were] lacking in
impetus” and that the break between the end of the second movement was
misjudged: it should “drive loudly and unhesitatingly into the pianissimo of
the Allegro molto [finale].” (The Gramophone, June 1963). Guild has
certainly ironed out these problems.
The early Three Pieces for piano were written during the early 1930s at Hindhead. The opening Prelude has little angst, is “overtly lyrical,” but displays few nods to “pastoralism.” The Scherzo also lacks apprehension: it is quite simply playful from end to end, even the slightly more serious “trio” section. The Rhapsody affectionately explores its theme with “long expansive gestures.” Here, I can see landscape imagery. Perhaps Wordsworth was reflecting on the splendid views from nearby Gibbet Hill. On a clear day the skyline of London can be seen.
The Cheesecombe Suite, op.27 (1945) is dedicated “To my friends B.A., C.A., D.C., and G.E. whose initials provide the theme for these pieces.” It would be invidious to try to guess who they were. Wordsworth used these initials to generate a theme in “one long, languid phrase” at the start of the opening Prelude. The progress is sad and brooding. This is followed by a vivacious Scherzo which provides relief from the meditative Prelude. There are several key changes and much rhythmic variety. The Nocturne builds from a nostalgic opening section through a hostile Poco piu mosso giving “a despairing cry,” before closing in a reflective disposition. The Suite is brought to a rip-roaring conclusion with a well-wrought Fughetta that builds up from a quiet statement of the subject, before surging ahead. One quirk is the sudden, abrupt ending. The soubriquet Cheesecombe may refer to a farm near Lyme Regis where WW did agricultural war-work in lieu of military service. (Conway, op.cit.)
Wordsworth’s Ballade op.41 was completed in 1949 and dedicated to the pianist Clifford Curzon. There is no indication of any programme or literary allusion. The listener can provide the “story.” That said, Paul Conway (Liner notes REAM 2106) has suggested that it does have a “narrative element, and the scale and heroic disposition of the [middle section] conveys the telling of an epic tale.” The Ballade is written in loose sonata form, although the listener may perceive it as a “rhapsody.” After a dramatic introduction, a quieter “parlando (quasi recit.) section sets the scene. This leads into the thrilling Allegro con brio which displays considerable development. The opening theme is brought back, modified, and then closes quietly. The Ballade has been described as “stern but not wild” and for the most part “vehement.” (I.K. Music and Letters, April 1955). Equally helpful is Harry Croft-Jackson’s comment (Lyrita, RCS 13) that “the harmonic freedom, rhythmic variety, and, in the closing pages, restrained tension leaves the listener in no doubt as to the temper of the work – this music matured in a period of conflict.”
It is rare for me to review a CD where I can play some of the music myself! In 1952 a remarkable series of didactic literature was issued by Lengnick: five graded albums for study and recreation, Five by Ten. It is doing a disservice to suggest that they are simply educational. Any of these short numbers make splendid recital material for pupils ranging from Grade 1 to about Grade 6. The series was edited by Alec Rowley. The fascinating thing about these volumes were that they highlighted a group of British composers “popular” in the 1950s. These included big names like Edmund Rubbra, Malcolm Arnold, William Alwyn, and Elizabeth Maconchy. There was a second group who are generally now only recalled by enthusiasts: Madeleine Dring, Bernard Stevens, Julius Harrison, Charles Proctor, and Franz Reizenstein. Somewhere in the middle was William Wordsworth. “Very easy to Easy” was his Bed-time (Six o’clock) complete with chiming grandfather clock and a sleepy goodnight. Equally elementary is the March of the Giants, a galumphing, modal little tune. Then A Tale from Long Ago is gently contrapuntal. Book Two has a Bedtime Story, which is really like a very straightforward Bach Invention. Slightly more intricate is Ding Dong Bell, with its carillons ringing the changes. Moving on to “Moderately Easy to Moderate” in the editor’s opinion (!), Wordsworth contributes a Fireside Story, with not a few key changes. I would not rate Hornpipe from Book 4 as being only “Moderately difficult.” Lots of neat little figurations and contrary motion to negotiate - but a fun piece to play. Lastly, Snowflakes is deemed “Difficult” with its broken chords and arpeggios. Certainly, as played on this CD, it is impressionistic and evokes what a child may feel on a cold, snowy, winter’s day.
The final track on this survey of Wordsworth’s piano music is Valediction, op.82 (1967). In a short programme note produced by the composer, he states that it was written for composer, pianist and author, Ronald Stevenson, in memory of a “mutual friend - Joe Watson - who was killed in a motor accident in 1966.” Watson, a blast-furnaceman from Consett, County Durham, had been involved with Frating Hall Farm near Colchester. This socialist institution had been set up in 1943 to provide farm labour for pacifists, as conscientious objectors, to remain within the law.
Originally to have been entitled Lament,
it is inspired by “the kind of music played by a Highland piper at the burial
of a hero.” Certainly, the sound of the “pibroch” and the pentatonic scale is
apparent throughout. Yet Wordsworth considered that as it developed “the mood
changes from the backward-looking idea of a lament to an affirmation of the
survival of the spirit of a great and good man.” He thinks, rightly, that
“Valediction’ – ‘Fare thee well’ – is a better title.” It is a long, lugubrious
piece that successfully mourns and affirms at the same time.
The pianist explains that he did not have access to the original score whilst preparing for this recording. He used a copy made by Ronald Stevenson made “for his [Stevenson’s] convenience while it was in his repertoire, making pianistic changes to the layout for the hands, but not the notes themselves.” It should be noted that this is not a first performance as stated on the track-listing. (See below). Two years later, Wordsworth arranged Valediction for full orchestra (op.82a, 1969).
Christopher Guild gives a remarkable performance of this outstanding repertoire. He brings clarity, enthusiasm, and commitment to this music. This is especially so in the immense sweep of the Piano Sonata, where he imbues it with a massively consistent romantic breadth. The recording is first rate.
The essay length liner notes, by the soloist, are detailed and informative. Hidden behind the disc in the jewel case, is an evocative picture of Glen Feshie in the Cairngorms, which (according to the booklet) WW could see from his study window. It is accompanied by a quotation: “I have always had joy in the grander aspects of Nature – mountains, storms, spacious views, and in the ever-changing colours of the Scottish Highlands.”
Whilst preparing this review I listened to extracts from Margaret Kitchin’s 1962 Lyrita recording. Despite its old, grainy sound, it remains a valuable performance. But what came as a surprise was the discovery of a notice of a cassette tape of Scottish Piano Music issued on the British Music Society label (BMS 407) sometime in the late 1980s. (British Music Society News December 1988, p.13). This included Wordsworth’s Ballade, the Cheesecombe Suite and Valediction. Richard Deering also played works by Edward McGuire and Thomas Wilson.
William Wordsworth (1908-88)
Piano Sonata in D Minor, op. 13 (1938-39)
Three Pieces for Piano: Prelude (1932), Scherzo (undated), Rhapsody (1934)
Cheesecombe Suite, op. 27 (1945): I. Prelude; II. Scherzo; III. Nocturne; IV. Fughetta
Ballade, op. 41 (1949)
A Tale from Long Ago (publ. 1952)
March of the Giants (publ. 1952)
Ding Dong Bell (publ. 1952)
Snowflakes (publ. 1952)
Fireside Story (publ. 1952)
Bedtime (Six O’clock) (publ. 1952)
Bedtime Story (publ. 1952)
Hornpipe (publ. 1952)
Valediction, op. 82 (1967)
Christopher Guild (piano)
rec. 13 April 2021 and 29 May 2022 (A Tale from Long Ago), Old Granary Studio, Beccles, Suffolk; 2 April 2023 (Three Pieces for piano), Wyastone Hall, Wyastone Leys, Monmouthshire.
Toccata Classics TOCC 0697
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