Josef Holbrooke on William Baines.

Josef Holbrooke (1878-1958) was an English composer, conductor, and pianist. Born in Croydon, Surrey, he studied at the Royal Academy of Music in London. Holbrooke was known for his symphonic poems and operas, particularly the trilogy The Cauldron of Annwyn, which includes The Children of Don, Dylan, and Bronwen, based on Welsh legends. Despite his prolific output, his works fell out of the mainstream repertoire over time.

His literary writings were known to be controversial. His book Contemporary British Composers “follows up a discussion of the state of British musical life today with a collection of opinions upon some of our leading composers. It is unfortunate that he allows prejudices to distort much of what is sound in his argument.” (Spectator 19 December 1925, p.31)

William Baines (1899-1922) was an English composer and pianist known for his prolific output despite his short life. Born in Horbury, Yorkshire, he came from a musical family; his father was a cinema pianist and organist. Baines began piano lessons at an early age and composed his first pieces, aged twelve. He studied at the Yorkshire Training College of Music in Leeds and later moved to York, where he gave his first public piano recital at 18. His compositions, numbering over 150, were mostly piano miniatures inspired by the natural world. Notable works include Paradise Gardens, Tides and Silverpoints. Baines' career was cut short by tuberculosis, and he passed away aged twenty-three years. His Symphony in C Minor was composed at 17 and premiered posthumously in 1991.

The present essay was included in Contemporary British Composers (p.243ff). It also featured a works list which is hopelessly inadequate.

This young musician has, alas, departed from us. [1] His fragrant gifts merit sympathy and attention wherever our music is exhibited. If early gifts are worth anything at all, go and play his seven piano preludes, and judge for yourselves. These piano works are singularly original and beautiful. They are of the Cyril Scott [2] exoticism in feeling perhaps, and the style may also be of Scriabin piano tracery; but how conclusive they are! I cannot call to mind anything British of the same refinement and visibility as the piano solo, Paradise Gardens. Here is a very young poet giving us all the technique we want, and clouds of chords are absent. The same beautiful clarity is here as in some of the F. C. Nicholls' [3] songs and Felix White's [4] pieces, which of course remain unknown to us! For one in his teens when he wrote them, I give my whole admiration to Baines for his Paradise Gardens [5] and his Tides wondrously pianistic and difficult. So true is it we cannot hope to teach genius when it comes along. There is small chance for the schools of music cornering the jewels. The great gifts are sporadic, and we know not when we are in the face of them. We cannot say to what heights young Baines would have reached had he lived, but his poem Goodnight to Flamboro' [6] is high enough, when we consider the weird assortment, we are regaled with in these days of spumescent Schoenbergs:

“There is a jewel which no Indian mines.

Can buy, no chymic art can counterfeit.

It makes men rich in greatest poverty:

Makes water wine, turns wooden cups to gold,

The homely whistle to sweet music's strain:

Seldom it comes, to few from heaven sent,

That much in little, all in nought—Content." [7]

Such are the works of William Baines - a small boy born in Yorkshire (in Dr E. Hull's words), [8] "reared in circumstances so humble that they allowed of no musical training, of only sparse opportunities of hearing good music…who wove music of an unusual beauty, and a rare originality, out of nothing.” [9] Much ungenerous dispute has arisen over the use of the word 'genius' in connection with Baines. Why haggle over words? Is it not enough that Baines has left to the world music of real and original beauty, written with a mastery of means and perfection of style which are astonishing?

Finally, we would remind the reader that fine music seldom reveals its beauty at one hearing. Baines' music will strike many people as strange - indeed it is strange. But if they will play it (or listen to it) again and again, with sympathy and understanding, they will assuredly fall under its spell. Dr Hull makes curious assertions, and much haggling over the word "genius." This has been so over many greater composers than young Baines, and I do not think his music is strange. We might certainly apply this word to the work of Malipiero, Casella, Stravinsky, and their followers. [10] Baines has the real poetic fibre in his chaste muse.

Notes:
[1] William Baines died on 6 November 1922, three years before Holbrooke’s book was published.

[2] Cyril Meir Scott (1879-1970) was an English composer, poet, and occultist. He composed a multitude of works, including symphonies, operas, piano concertos, and chamber music. Known for his Romantic and Impressionist styles, Scott was a pioneer in British piano music and influenced several composers. He also wrote extensively on alternative medicine and metaphysics.

[3] Frederick Charles Nicholls (1871-1952) was a minor composer as well as being a professor of music. According to Holbrooke he wrote songs and light piano music that nodded to Chopin.

[4] Felix Harold White (1884-1945) was an English composer, pianist, and music teacher. Known for his orchestral and instrumental works, piano pieces, and choral compositions, White's music often reflected his pacifist beliefs, especially after his experiences during World War I. His notable works include Shylock and Astarte Syriaca.

[5] Paradise Gardens is regarded as William Baines’s masterpiece. He wrote: "there was a lovely view, overlooking the gardens of the Station Hotel [in York]. You looked through thick green foliage on to the grounds, which were beautifully laid out with flowers - and in the centre a little fountain was playing. A perfect blue sky, and the sun shining low - made indeed a grand picture." The piece he began just a few days later is a major tone poem for piano. The work is a subtle balance of impressionism and a more romantic musical language. (Sadly, much of the ‘Paradise Gardens’ has been turned into a car park.)

[6] Goodnight to Flamboro' was the second of two pieces issued in 1920 as Tides. The first was The Lone Wreck.

[7] This is a short poem by the English madrigal composer John Wilbye (1574-1638).

[8] Arthur Eaglefield Hull (1876-1928) was a British music critic, author, organist, and composer. He wrote for many periodicals, including The Monthly Musical Record. His books include an early biography of Cyril Scott (1919) and Modern harmony, its explanation and application (1915). He edited the organ works of Alexander Guilmant. His life ended in tragedy when he fell in front of a train at Huddersfield Railway station. The coroner reported “Suicide whilst of unsound mind.

[9] Josef Holbrooke quotes from Arthur Eaglefield Hull’s A New Yorkshire Musical Genius printed in The Bookman, April 1922

[10] Unfairly Holbrooke applies the adjective “strange” to the music of Gian Francesco Malipiero (1882-1973) and Alfredo Casella (1883-1947). Both composers were cosmopolitan in outlook and were able to absorb both modernism and tradition. Few would regard Igor Stravinsky (1882-1971) as “strange” nowadays.

It's not British, but...Chopin Variations played by Oleg Marshev

This new CD from Danacord opens with the Variations on a Theme of Chopin, op.22. These were begun in 1902 when Rachmaninov had returned to his estate in Ivanovka, Russia, after his three-month honeymoon with Natalia Satina. During this long vacation, he had visited Venice, Lucerne, Vienna, and Bayreuth where he saw The Ring, The Flying Dutchman, and Parsifal. The Variations were completed in February 1903, the same year as the more popular Ten Preludes op.23.

These Variations are often analysed in sonata form in three (my preference) or four movements, with each variation forming part of this structural plan. The theme that Rachmaninov used is Chopin’s Prelude, op.28 no.20 in C minor. This is the “gloomiest and most funereal” of the set.

The first ten Variations are typically short and rapid. These are followed by Nos. 11 to 18 which are slow. The exception is the brisk, dashing, Allegro scherzando. The heart of the entire piece is Variation 16, with its yearning mood. The final “movement” consists of four variations that are longer, faster, and more developed than what has gone before. The last one combines introspection with a final hectic race towards the end.

As can be imagined, these twenty-two variations explore a wide range of emotion. It has been said that Rachmaninov incorporated every pianistic trick that he knew. There are many passages of pyrotechnics, high romanticism and even “Bachian counterpoint” (Variation 12).

There is a possibility that these Variations could become a little long-winded over its 35-minute duration, even a bit unbalanced. So, I guess the technique for best practice performance must be to emphasise the overarching structure, as well as providing a stunning display of the Russian’s romantic brilliance. For me, Marshev achieves this desideratum.

Spanish composer and pianist Federico Mompou was known for his sophisticated piano music. He spent considerable time in Paris, where he gained recognition, but he eventually returned to his native Barcelona. Influenced by French impressionism and Catalan culture, his music often featured short, lyrical numbers that evoke a sense of quiet introspection.

Mompou's Variations sur un thème de Chopin began as a collaborative venture in 1938 with his friend, cellist Gaspar Cassadó. They aimed to create a set of variations for cello and piano based on Chopin's Prelude, op. 28, no. 7 in A major. The project was never fulfilled. In 1955, conductor John Lanchbery requested a score suitable for a ballet, prompting Mompou to revive and complete these variations. According to the liner notes, of the twelve variations, four (Nos. 1-3 and 5) originated from the abandoned venture.

Compared to the Rachmaninov, Mompou’s piece is “ethereal” and “other-worldly.” It is a subtle blend of impressionism and romanticism. He has paid homage to Chopin by using some of the elder composer’s best loved musical forms – the mazurka (Variation 5), the valse (Variation 9) and a Polonaise-ish (Variation 12). I loved the suggestion in the liner notes that “in all these cases, the harmony slips between Chopin’s world and Mompou’s like a person who appears to be in two rooms at once, yet whose mind is always somewhere else.”

There is a definite jazz influence in these pages, at least of the cocktail piano variety. And then there are nods to the ‘big tune’ from the famous fantaisie-impromptu.

Oleg Marshev gives a sense of cohesion throughout these variations. He emphasises the gentler elements of Mompou’s language, creating a sense of intimacy and quiet reflection, but on one occasion, an almost Boogie-woogie vivacity in the Galop y Epilogo.

A few words about Ferruccio Busoni may be of interest. He was an Italian composer, pianist, conductor, editor, author, and educator. Known for his virtuosic piano performances and innovative works, Busoni's music often combined late Romantic elements with more modernist ideas. His notable compositions include the opera Doktor Faust, the Fantasia Contrappuntistica for solo piano, and numerous transcriptions of Johann Sebastian Bach.

The rendering of Busoni's Variations on a Prelude by Chopin, BV 213a played here is a bit of a mishmash. The liner notes refer to it as a “portmanteau” edition. It was originally written in 1884 and consisted of a Theme based on Chopin’s C minor Prelude, eighteen variations and a concluding fugue. This was recomposed in 1922 as Busoni found the original unwieldy. It was cut down to ten variations. The booklet explains that Oleg Marshev has fused two versions: he plays the Introduction and Variation 1 from the 1922 score, which is then followed by Variations 2-8 from 1884, before returning to the revision and playing through Variation 2 until the end. Most listeners who do not have the sheet music may be a bit confused. I followed the 1922 segment in the score, and it is a magnificent exercise in virtuosity. This is especially so in the finale, which is a “Scherzo” of considerable complexity and pace, but into which is interposed a delightful waltz in “Hommage a Chopin.” It is redundant to state that these Variations require technical prowess and a deep understanding of both Chopin's and Busoni's musical languages. This is provided by Oleg Marshev; however, I do wish that he had settled on just one of the editions.

The recording is vibrant and clear and is a perfect complement to the power and range of this music. The liner notes, devised by Peter Quantrill, give a good overview of all three pieces. There are details of Oleg Marshev’s career: more information can be found here. 

I enjoyed this disc (with the caveat about the Busoni). It allowed me to hear three works that honour Frederick Chopin. Two of them (Mompou and Busoni) are new to me. Oleg Marshev gives commanding performances throughout.

Track Listing:
Sergei Rachmaninov (1873-1943)
Variations on a Theme of Chopin, op.22 (1902-03)
Federico Mompou (1893-1987)
Variations sur un thème de Chopin (1938-57)
Ferruccio Busoni (1866-1924)
Variations on a Prelude by Chopin, BV213a (1884/1922)
Oleg Marshev (piano)
rec. August 2024, Cultural Institute, Milan, Italy
Danacord DACOCD 984

With thanks to MusicWeb International where this review was first published.

Alan Rawsthorne: Suite for flute, viola, and harp (1968) Some Further Reviews and Studies

For the second half of this post about Alan Rawsthorne: Suite for flute, viola, and harp, I quote two contemporary reviews of the premiere performance, one of a later concert, two appraisals of the score and John McCabe’s comments about the piece in his study of the composer.

The Times (16 November 1968, p.21) critic J.C. explained that Rawsthorne’s “initials are clear in the subtle understatement characterizing all three succinct movements. After an eerily atmospheric introduction, the first develops into a grave moderato linear argument, but ends atmospherically, with a shudder. Ravel's ghost may haunt the frail intermezzo, yet artfully, the wisps of valse remain wisps. Once the flute takes fright: the ending is a gleaming consonance. The finale, after a wryly rhythmic start, seems less certain of its way. too episodic. But the homecoming itself is decisive.”

A.E.P. writing for the Daily Telegraph 16 November 1968, p.15) under the headline “Reticent New Trio by Alan Rawsthorne,” considered that it “was characteristically reticent, even at times fugitive in tone, with several moments, like the tiny introduction, of magic sonority and a moving central movement in which phrases and textures seemed in flight from pain.” Overall, according to this critic, much of the programme was very well performed, “especially the charming Leclair Trio Sonata and the Bax, and Marisa Robles herself played charmingly in a Sonatine for solo harp by Nadermann.”

In the Yorkshire Post (13 February 1969, p.2) commenting on a later performance of the Suite at the Keighley Music Club by the same performers, Ernest Bradbury considered that the “...three movements show the composer working in a darker, more sombre field than that with which we usually associate him...quite wonderfully conceived...”. (Cited Dressler, 2004, p.279)

Writing in the Musical Times, (December 1971, p.1024), Niall O’Loughlin, states that “the publication of the three-movement Suite by the late Alan Rawsthorne [he died in the summer of 1971] is a fitting memorial to his music and typical of his art: restrained and self-effacing, yet never without character, beautifully balanced and well written. The medium naturally lends itself to intimate chamber music and generally gestures are subtle, and textures refined without being austere.” O’Loughlin concludes by insisting that it “a lovely work that deserves to be well known.”

In Notes, (Mar. 1972, pp. 520-521) Norman Cadzen remarked on the value of Rawsthorne’s Suite to the “still uncrowded repertory” of this instrumental combination which provides a “more dainty and lyrical medium…closer to the composer's inclinations than is the standard metaphorical and rhetorical battle of the piano hero against the massed strings.” He understands the dominance of the Intermezzo allegretto in creating what is essentially a cyclic work. Cadzen is impressed by the “unexpected metrical vigour in the last movement” which he feels will lead “the comfortably seated audiences of today” to tap their feet or drum their fingers.

The most detailed examination of the Suite was given in John McCabe’s study of the composer (1999, p.278). He considered that this “is hardly an important work, and the melodic material is in itself not particularly memorable, but as a divertissement it is sweet and charming, with a vernal freshness reflecting Rawsthorne’s pastoral side.” McCabe notes that “despite the twelve-note tone row that emerges gradually and is one of the of the principal thematic and harmonic ideas, it also has some diatonic themes and chords.” Finally, a prominent place is given to the finale, which is “almost a pounding rustic dance…” The middle movement has “hints of both siciliano and waltz, though a more romantic interlude on harp looks for all the world like Rawsthorne’s familiar style of piano writing.” The opening movement begins with a slow introduction, setting out the tone row.

Discography
Rawsthorne, Alan, Suite for Flute, Viola, and Harp + works by Poston, Goossens and Vellones, Nederburg Harp Trio: Lucien Grujon, flute; Walter Mony, viola; Kathleen Alister, harp, RPM Studios-1093 (1974) (LP)

Rawsthorne, Alan, Suite for Flute, Viola, and Harp; Concerto for Ten Instruments; Sonatina for Flute, Oboe and Piano; Quintet for Oboe, Clarinet, Horn, Bassoon and Piano; Quintet for Clarinet, Horn, Violin, Cello, and Piano; The Fibonacci Sequence, ASV DCA-1061 (1999) (CD)

Bibliography
Dressler, John C. Alan Rawsthorne: A Bio-Bibliography (Westport, Connecticut, Praeger Publishers, 2004)

McCabe, John, Alan Rawsthorne: Portrait of a composer (Oxford University Press, 1999)

Poulton, Alan, ed, Alan Rawsthorne, Essays on the Music (Hindhead, Bravura Publications 1986)

Alan Rawsthorne: Suite for flute, viola, and harp (1968)

One of the acknowledged masterpieces for flute, viola, and harp, is Claude Debussy’s Sonata en trio completed in 1915. This piece is characterised by its impressionistic qualities and evocative soundscapes. Another good example, this time by a British composer, is Arnold Bax’s Elegiac Trio dating from 1916. This piece explores the lyrical and pastoral properties of the instruments and is infused with a sense of nostalgia and reflection.

A good companion piece is Alan Rawsthorne’s Suite for flute, viola and harp which was written for, and dedicated to, the eminent Spanish harpist Marisa Robles. It was completed during 1968. Other works written around this time include the Piano Quintet, the Concertante for violin and piano (version 2) and the Concerto for Two Pianos.

Alan Rawsthorne (1905-1971) was a distinguished British composer known for his sharply structured orchestral and chamber music. Born in Haslingden, Lancashire, he initially pursued dentistry and architecture before committing to music. He studied at the Royal Manchester College of Music and later in Berlin with Egon Petri. His early works were influenced by Paul Hindemith and displayed linear counterpoint and rhythmic incisiveness. Rawsthorne's career gained momentum with the success of his Theme and Variations for Two Violins at the 1938 ISCM Festival in London. Notable compositions include three symphonies, eight concerti, and many chamber works such as the viola sonata and two piano concertos.

The Robles Trio was a distinguished chamber ensemble known for their exceptional performances of classical music. Comprising a harp, flute, and viola, they gained acclaim for their interpretations of works by composers such as Ravel, Bax, and Debussy. Their 1970 recording of these three composers is particularly distinguished.

Alan Rawsthorne’s Suite has three movements which are more suggestive of a sonata than a suite, the emphasis being on development of an idea, in an intimate manner as established in his Second (Pastoral) Symphony of 1959, than on dance rhythms.

In his important analysis of the Trio, Sebastian Forbes (Poulton 1986), p.37) writes that “In idea the first movement holds the greatest promise consisting of an introduction and allegro based upon a tone row…but the energy is a little short lived, its shapely phrases becoming somewhat inconsequential. The central movement is a graceful intermezzo in 6/8 time and is followed by a vigorous finale. Here a certain inconsistency arises, for the diatonic main theme appears empty and contrived when compared to the attractive episodes that grow out of it, or to serial inclinations of the first movement. Throughout, the writing for flute and viola is very fine, but the harp part, though considerate, is less idiomatic and would be equally effective on the piano.”

The Suite for flute, viola and harp was premiered at the Purcell Room, London, on 15 November 1968. It was one of a series of Kirckman Concerts founded in 1963. The performers were the Robles Trio: Christopher Hyde-Smith (flute), John Underwood (viola) and Marisa Robles (harp).

Other music heard that evening included the first performance of the St. Nicholas Suite by a certain Miss Papastavrou-Spinks, the Elegiac Trio by Arnold Bax, Debussy's Syrinx and Honegger's Danse de la Chevre. There were also pieces by François-Joseph Nederman and Jean-Marie Leclair.

Bibliography:
Dressler, John C. Alan Rawsthorne: A Bio-Bibliography (Westport, Connecticut, Praeger Publishers, 2004)
McCabe, John, Alan Rawsthorne: Portrait of a composer (Oxford University Press, 1999)
Poulton, Alan, ed, Alan Rawsthorne, Essays on the Music (Hindhead, Bravura Publications 1986)

To be continued…

Ronald Stevenson: Piano Works

The recital opens with Ronald Stevenson’s important Peter Grimes Fantasy on themes from Benjamin Britten's opera for piano solo, written in 1971 for the pianist Graham Johnson. The opera, set in a small English fishing village, follows the tragic tale of a fisherman who faces societal ostracism and personal turmoil. The composer has stated that “Peter Grimes is the living conflict. His pride, ambition, and urge for independence fight with his need for love: his self-love battles against his self-hate…” Stevenson has made a conscious contrast of these ideas. The loathing of the villagers is seen in the storm music, whilst the Dawn Interlude refers to the drowning of Grimes. The technical resources required to “bring off” this Fantasy are tremendous. All the pianistic devices of Liszt are present.

I guess that I would never have heard of Ignacy Jan Paderewski’s (1860–1941) only opera Manru, (1901) if it had not been for the present arrangement of extracts made by Ronald Stevenson in 1961. I came across it four years ago on Christopher Guild’s performance on TOCC0555, reviewed here. The story of the opera revolves around a village girl named Ulana and chronicles her love for the gypsy Manru. The liner notes explain that the opera “was regarded as the first significant Polish music drama, it is a powerful work, masterfully written and orchestrated, with the best traditions of nineteenth-century operatic writing.” The composer has condensed the score into four short movements: “Introduction and Gypsy March, a soulful Gypsy Song, a lyrical Lullaby, and a feisty Cracovienne.” This latter is a Polish national dance, which comes complete with simulated bagpipe drones.

Stevenson’s realisation of the slow movement Romance from Mozart’s Concerto in D minor, K466, was completed in 2002. It is a combination of the solo piano and the orchestral parts. There are a few “elegant flourishes [and] luscious chords,” but this is a straightforward transcription.

The first of four premiere performances is the dreamily exquisite Quintet from Die Meistersinger, 'elaborated for left hand alone' (1980). This is an adaptation of a transcription made by the pianist Paul Wittgenstein. It is scored for left hand only.

The Ostinato Macabro on the name Leopold Godowsky, (c.1980) is also for left hand only. It is truly short, lasting for about a minute. It is certainly a sinister, creepy piece, which gives one the shivers. Another premiere recording.

The liner notes explain that Etudette d'apres Korsakov et Chopin (Spectre d'Alkan) is a short work that “poses endless technical challenges.” The nod to Rimsky is based on left-hand-only figurations from The Flight of the Bumble Bee whilst the latter part incorporates Chopin’s Étude in A minor, op. 10 no. 2 (Chromatic) in the right-hand part. All in under two minutes. I am not sure where the “Ghost of Alkan” fits in.

Leopold Godowsky’s 53 Studies Based on Chopin Etudes profoundly influenced Ronald Stevenson "as both a composer and pianist." The Pensées sur des Préludes de Chopin are dark and introspective, with each ‘Thought’ introduced by a quotation from the French philosopher, Blaise Pascal. Stevenson adeptly selects, combines, and transforms elements of Chopin’s music, creating a profound work that seems to transcend the original. While I found this adaptation enjoyable, if not entirely satisfying, some listeners might prefer that he had not tinkered with what many consider original masterpieces.

Little Jazz Variations on Purcell’s “New Scotch Tune” is based on a jazz-inspired transformation of Purcell’s melody. This is a moody, smoky little number that captures our attention. Stevenson wrote this in 1964 but has toyed with it over the years adding a few more variations. The theme is taken from, Playford’s Music’s Handmaid Part II (London, 1689).

Lots of composers have been fascinated by Niccolò Paganini’s Caprice no.24 for solo violin. These include Brahms, Liszt, Rachmaninov, and Andrew Lloyd Webber. Stevenson’s take, Piccolo Niccolò Paganinesco (1986) is wittily dedicated “To Laurenzio Guantaio,” who was the pianist and teacher Lawrence Glover. It is quite an acerbic piece, with no big romantic theme, but full of vitality and hints of jazz. It is good to hear this recorded for the first time.

The final premiere recording is the Preludette on the name George Gershwin. This is a delightful miniature which is a million miles away from the massive Passacaglia on DSCH. Unlike this composition which lasts for one and half hours, the Preludette is only 53 seconds long. Written in 1981, and dedicated “For my dear friend Harry [Winstanley] on his 50th birthday.” Winstanley authored a book about George Gershwin, which was printed by Toccata Press. Stevenson has used the scale-letters in GG’s name (including B for H) and has creatively added the rest. It hovers between jazz and impressionism.

The previous year, Stevenson had transcribed the once well-loved Richard Tauber song, My Heart and I. I guess that this ballad may have passed from the common ken, but it is of its time and has been re-imagined with love, romance, and tenderness. It would make a great encore at any recital.

Peter Jablonski, born in 1971 in Lyckeby, Sweden, is an internationally admired concert pianist. He began his career at the Malmö Conservatory, studying both percussion and piano. By the age of nine, he was performing as a drummer at New York's Village Vanguard jazz club. His debut as a pianist came at twelve with Mozart's Concerto No.17 in G major, K. 453. Jablonski moved to the UK in 1989 to study at the Royal College of Music in London. Signed by Decca Records in 1991, he has since collaborated with leading orchestras and conductors worldwide, including Vladimir Ashkenazy and Valery Gergiev. His recordings include works by composers such as Chopin, Prokofiev, and Bacewicz, earning him numerous awards.

This is a fantastic disc of arrangements, elaborations, and original works, which are brilliantly and sympathetically played by Peter Jablonski. The recording is excellent.

The liner notes by Anastasia Belina are detailed; they include an introductory essay about the composer’s life and music, as well as helpful notes on each piece.

This disc is a valuable addition to the growing collection of recordings dedicated to Ronald Stevenson. Other contributors include Murray McLachan, Kenneth Hamilton, and an ongoing cycle by Christopher Guild. And then there are several CDs performed by the composer himself. Is Peter Jablonski is going to record further volumes of Stevenson’s music? I do hope so.

Ronald Stevenson (1928-2015)
Peter Grimes Fantasy on themes from Benjamin Britten's opera for piano solo (1971)
Suite for piano from Paderewski's opera Manru (1961): Introduction and Gypsy March, Gypsy Song, Lullaby, Cracovienne
Romance from Concerto in D minor, Mozart K466, realised by Ronald Stevenson (2002)
Quintet from Die Meistersinger, 'elaborated for left hand alone', Wagner-Wittgenstein (1980)
Ostinato Macabro on the name Godowski (1980)
Etudette d'après Korsakov et Chopin (Spectre d'Alkan) (1987)
6 Pensées sur des Préludes de Chopin (1959)
Little Jazz Variations on Purcell's New Scotch Tune (1964/75)
Piccolo Niccolò Paganinesco (1986)
Preludette on the name George Gershwin (1981)
Tauberiana (Song My Heart and I) (1980)
Peter Jablonski (piano)
rec. July 2024, Palladium, Malmö, Sweden
Ondine ODE 1453-2

With thanks to MusicWeb International where this review was first published.

Edward White: Paris Interlude (c.1949)

A destination for many putative time travellers must be Paris in the 1940s and 1950s. After having suffered occupation by the Germans, it was quickly becoming a place of style and haute couture. There was still much deprivation on the streets with rationing of food and petrol. Yet a new generation of artists were making themselves felt. On 12 February 1946, Christian Dior held the first major fashion show after the end of the war. The car industry was being resurrected with a major show also in 1946. Jazz was important, with clubs opening their doors from the mid-1940s onwards. Olivier Messiaen was an important figure in classical music. Legendary authors at that time included Jean-Paul Sartre, Simone de Beauvoir and Albert Camus who were hugely influential in the city. And then from 1952, Audrey Hepburn, would come to personify the city.

Edward George White (1910–1994) was a British composer of light music, known for his charming and witty compositions. Born in London, White was self-taught and began his musical career as a violinist in various dance bands, also playing the saxophone and clarinet. White's compositions, such as The Runaway Rocking-Horse, Caprice for Strings, and The Clockwork Clown became familiar numbers on the BBC Light Programme. Puffin' Billy, his most famous piece, was inspired by an old steam locomotive seen by White on the Isle of Wight. It was used as the signature tune for Children's Favourites. White's music evokes a sense of nostalgia for a past era, which was probably not quite as idyllic as its mood often suggests.

Edward White’s ‘take’ on Paris ignores the problems of the era and paints a picture of fun and enjoyment with a touch of romance. Written around 1949, it speaks of the good things that were happening in the city. Opening with a rising figure on the glockenspiel, the music soon becomes jaunty and vibrant. The woodwind provides a neat commentary on the big tune. There is a less frenetic moment towards the middle of the piece, but the general tenor is sheer enjoyment and exuberance from the first note to the last.

Edward White’s Paris Interlude was first released by Boosey & Hawkes, O.2181 in about 1949. It was coupled with Clive Richardson’s The Beachcomber. The New Concert Orchestra was conducted by Jack Leon.

Listen to Edward White’s Paris Interlude on YouTube, here.

So Written to After-Times: John McCabe - A Life in Letters

The advertising for this new book explains that it is “a compilation of letters between composer-pianist John McCabe (1939-2015) and eminent composers and performers from across the world.” The tenor of the letters ranges from “the scholastically interesting to the frivolous and emotionally moving.” Correspondents include Benjamin Britten, Alun Hoddinott, William Alwyn, John Barbirolli, André Previn, and (of course) his wife, Monica.

After his death, McCabe’s archive revealed a remarkable collection of letters, postcards, faxes, and emails. These documents offer valuable insights into his considerable impact on music, musicians, family, and friends, shedding light on various aspects of his life and legacy.

A few biographical details will put these letters into context. John McCabe was born in Huyton, Liverpool, deciding to become a composer at the age of five-and-a-half. He studied at Manchester University and the Royal Manchester College of Music, later continuing his education in Munich with Harald Genzmer. McCabe's career spanned composition, performance, and teaching. Notable works include symphonies, ballets, concertos, and chamber music. He gained international recognition with pieces like Notturni ed Alba (1970), his Concerto for Orchestra (1982) and supremely, Cloudcatcher Fell for brass band (1985). His music defies categorisation: he often used post-tonal structures, including serialism, but rarely entered avant-garde blind alleys. It is typically approachable, and always satisfying. As a concert pianist, McCabe’s recordings of Haydn's complete Piano Sonatas on the Decca label are considered definitive.

He served as director of the London College of Music from 1983 to 1990. In 1999 Oxford University Press published his major study of fellow North Country composer Alan Rawsthorne. John McCabe died in Rochester, Kent on 13 February 2015.

The principal text examining his life and work is Landscapes of the Mind: The Music of John McCabe edited by George Odam (2008). Prior to this the indefatigable Stewart R Craggs published John McCabe: A Bio-Bibliography (1991). Sadly, this latter volume is now 34 years out of date. However, it is still a decent starting point for students wishing to explore his achievement. The entry in Grove’s Dictionary was published as far back as 2001.

In A Life in Letters, most of the text is a chronological selection of 314 letters between John McCabe and a wide range of correspondents. They begin with one from the organist Frederick H. Wood to the nine-year-old boy, suggesting that writing a Soldier’s March or a Fairy Dance might be an easier task than a symphony. The final epistle is a moving draft of “John’s Last Letter” written shortly before his death.

It is invidious to pick out examples from this book, as all are of interest and importance. Yet for me, the twenty-one letters from Sir Richard Rodney Bennett (1936-2012) who was a versatile British composer, known for his film scores, concert music, and jazz performances, are of deep significance. Superficially, Bennett’s letters are often characterised by wit and frivolity but there is a deeper intent here. Monica McCabe told me that she found “an undercurrent of loneliness and insecurity” in these pages, “even about his [own] outstanding talent.” Certainly, these letters deserve to be read as a group. In fact, in a note dated 25 November c.1983, he does suggest that if they keep up the correspondence, “we can publish a slim volume of letters.” Based on the humour and subjects of these missives, I think an edition of RRB’s ‘complete’ correspondence is a desideratum for all cultural and music historians.

Two important sequences of letters are included between McCabe and his fellow student and lifelong friend Professor George Odam and the American composer, literary scholar and teacher, Barney Childs. The latter wrote avant-garde music both in the United States and in the UK, at Goldsmiths College.

Another fascinating series of letters explores John McCabe’s overseas trip to the middle east where he gave a series of recitals, lectures, and masterclasses under the auspices of the British Council. During October and November 1979, he wrote to his wife from Riyadh, Jeddah (Djidda), Baghdad, Kuwait, Amman, and Damascus. Much of this is his thoughts about the places he visited and the hotels he stayed at. There is even a note suggesting that typewriters were hard to find in Iraq, due to “the spy industry, apparently.” McCabe mentions to his wife that “there is undoubtedly a tape recording of our phone call last night…”

The letters are complimented by a light touch commentary by Monica McCabe, which give a sense of perspective and expands on some of the less well-known correspondents or people mentioned in the text. Interestingly, there is a selection of emails. This is one of the problems of our modern age. I guess that many people do not keep these electronic messages, and they inevitably disappear into the recycle bin. So, it is good to have these here.

The book is enhanced by a striking selection of photographs of John McCabe, his friends and family. Many are in colour. The text is readable, and the binding is sturdy. The only slight criticism of this otherwise flawless volume is the lack of a topical index. To be sure, there is a comprehensive listing of correspondents, but no opportunity to search for folk mentioned in the text and McCabe’s (and other composer’s) compositions.

The ethos of this book is summed up by an apt quotation from John Milton’s The Reason of Church Government urged against Prelaty: “By labour and intense study (which I take to be my portion in this life) joined with a strong propensity of nature, I might perhaps leave something so written to after times as they should not willingly let it die.” Letters are an important means of understanding an artist’s work. They fill out details of historical context and can reveal much about the intentions and creative process behind specific compositions. They often reveal the character of the person themselves, which can help in evaluating a response to their art. Too often we forget that great musicians are human beings, with all that the human condition brings. And they are not always thinking about music…

Finally, although, I hope that this volume will be used by historians for serious study, I agree with the sentiment printed on the rear cover, that besides being an interesting and valuable historical document and revealing the inner reflections of celebrated artists, it also makes good, often humorous, bedtime reading.  This is a high recommendation indeed.

Sidney Torch: London Transport Suite (1957)

Commissioned by the 1957 BBC Light Music Festival, Sidney Torch’s London Transport Suite is a little bit of whimsy. Although not approaching the wit of Gerard Hoffnung’s legendary concerts at the Royal Festival Hall, it is certainly fun. Three short movements notice long vanished aspects of the Capital’s transport system. The Suite was premiered on BBC TV on the evening of 4 August 1957, at 10pm.

Sidney Torchinsky, known professionally as Sidney Torch, was a prominent British composer, conductor, and pianist born on June 5, 1908, in London. Early study began with his father, Morris Torchinsky, a professional trombonist. Torch studied piano at the Blackheath Conservatoire and quickly gained recognition as an accompanist to violinist Albert Sandler.

Torch's career took a significant turn when he became an organist at various London cinemas, including the Regal, Marble Arch, and the Gaumont State Cinema. During World War II, he served in the Royal Air Force, where he was able to pursue his career as a conductor and arranger for the RAF Concert Orchestra. After the war, he began to write light orchestral music, as well as conducting the Queen's Hall Light Orchestra and the New Century Orchestra.

The liner notes for the Marco Polo (see below) recording of the London Transport Suite explains that Torch was “inspired by the withdrawal from service of 'The Brighton Belle', a much-loved train running between London and Brighton, a fashionable seaside resort on the south coast of England. The three movements therefore describe modes of transport no longer with us.”

The first movement portrays an old Hansom Cab, seen on the streets in the early twentieth century. This is no ‘Blask Cab’ but a horse drawn vehicle that could accommodate two people, three at a squeeze. Torch has created a musical portrait of a ‘day in the life’ of the horse. From leaving the stable, to an early morning clip-clop down a quiet London street. Suddenly a motor car backfired, and the poor old horse bolted, causing damage in a China shop. All turned out fine, and the piece ends with a “whinny.” The ‘big’ tune here is a classic ‘light music’ creation. And it is reprised at the end.

The second movement pays respects to Rosie, The Red Omnibus. She was the precursor of the Routemasters and Boris’s Buses. Torch has portrayed Rosie by the tuba and comes complete with an old-fashioned horn. There is lot of wheezing as it progresses along The Strand. Once again, a splendid melody is introduced, suggesting that the bus finally gets moving.

The last movement, The 5.52 from Victorloo is a clever bit of ‘railway music’ so beloved of light music composers. Combining two of London’s busiest main line station, the piece opens with steam train sounds from the band, before a big tune emerges supported by a chuffing accompaniment.

Sidney Torch’s London Transport Suite (1957) can be heard on YouTube, here. The BBC Concert Orchestra, conducted by Barry Wordsworth. It was released in 1996 on the Marco Polo label, 8.22443, as part of their British Light Music series.

It's not British, but...Scheherazade for piano

The liner notes remind the listener that as “A mystic realm tinged with the scent of foreign spices, bewitching music, vivid colour and sensual delights…Orientalism sparked a new wave of romanticism in Western art in the 19th century.” Certainly, one of the drivers of this interest were translations of the Thousand and One Nights, also known as The Arabian Nights, into various European languages. This included a French edition by Antonine Galland published over the years 1704-17, and multi volume English editions by John Payne, 1882-84 and Richard Burton, 1885-88.

The Arabian Nights is an enormous collection of Middle Eastern folk tales compiled during the Islamic Golden Age. The core of the collection is the story of Scheherazade, an intelligent woman who tells captivating stories to her husband, King Shahryar, to postpone her execution. She weaves tales each night, leaving them unfinished so that the king spares her life to hear more. Well-loved stories include Aladdin's Lamp, Ali Baba and the Forty Thieves, and The Seven Voyages of Sinbad the Sailor. These tales are rich with themes of adventure, magic, love, and justice, often reflecting the culture and values of the medieval Islamic world.

Nikolai Rimsky-Korsakov was long fascinated by the “mythical orient.” His most popular work is the orchestral Symphonic Suite: Scheherazade, op.35 (1888). It was inspired by four stories from the Arabian Nights. The movements are: The Sea and Sinbad’s Ship, The Story of the Kalendar Prince, The Young Prince and the Young Princess and the concluding Festival in Baghdad - The Shipwreck on the Rocks. The texts of the underlying stories are easily discovered on the internet. The original features brilliant orchestration, exotic themes, and dramatic musical storytelling. It is a fine blend of Eastern influences with the Western symphonic tradition. The use of leitmotivs for Scheherazade and the Sultan gives continuity to the entire Suite.

The present pianist, Etsuko Hirose has made a wonderfully evocative transcription for piano solo. It is faithful to the impact and atmosphere of the original. Especially delightful is the romantic The Young Prince and the Young Princess. And the final movement describing the shipwreck, rises to a Lisztian power and drama.

Now the obvious question is of appeal. Would the listener want to hear a piano version of this well-loved work, or would they stick with one of the myriad recordings made of the orchestral score. Two reasons why they should buy this CD. Firstly, I was really listening to the music, and not just allowing it to wash over me. I heard things in this performance that have eluded me over the past half century. And, secondly, it is not just a transcription of the music, but a faithful recreation. Hirose has developed a score that is truly pianistic.

Sergei Bortkiewicz (1877-1952) was a Ukrainian-born pianist and composer who later became an Austrian citizen. He studied at the Imperial Conservatory in St. Petersburg and later at the Leipzig Conservatory as a student of Alfred Reisenauer and Salomon Jadassohn. His work is exemplified by its romantic style, rich harmonies, and melodic beauty. He wrote numerous piano pieces, including concertos, preludes, etudes, and sonatas, which are admired for their technical demands and expressive depth. Sadly, despite some revival on disc in recent years, Bortkiewicz's works remain relatively unknown, except to enthusiasts of the genre.

I am beholden to the liner notes for information about Bortkiewicz’s Oriental Ballet Suite: Thousand and One Nights, op.37. It was published in 1928 as a piano solo but was later orchestrated by the composer. Speaking of his time in Constantinople, Bortkiewicz recalled: “One suddenly feels transported to ancient times, one forgets the present and believes that one is experiencing a fairy tale from 1001 Nights come to life. It would be too much to describe all the beauties of this fairytale like country.” The Suite is presented in ten contrasting movements. The opening Caliph Haroun-al-Rashid reflects this potentate’s power with fanfares whilst The Story of the Poor Fisherman evokes the magic of the genii out of the bottle. The Dance of the Young Girls is wistful, dreaming, perfect, and the Oriental Dance fairly zips along, with a lovely reflective trio section. ‘Hammer Horror’ sonorities infuse The Enchanted Castle which is followed by a melancholy tribute to Zobeide and her two sisters, the latter of whom were turned into black dogs. The track listing titles the seventh movement as a Dance of Mourning; however, the score gives it as a Dream Dance. There is little grieving in these pages. It is possibly the loveliest number in the suite. The Three Sisters return with a lively Allegro with its chattering progress reflecting on the Talking Bird, the Singing Tree, and the Golden Water. A Bacchanal, which is not too wild and drunken leads into The Wicked Magician Escapes from the Bottle. This is full of dramatic pianistic effects bringing the Suite to an end.

Japanese classical pianist Etsuko Hirose began playing the piano at age three and performed Mozart's Piano Concerto No. 26 at six years. After studying in Paris, she won first prize at the 1999 Martha Argerich Competition, launching her solo career. She has also ‘received the guidance’ of Alfred Brendel, Marie-Francoise Bucquet and Jorge Chamine. Hirose has performed at prestigious venues worldwide, including the Kennedy Center in Washington and the Suntory Hall in Tokyo. Her interpretations of Chopin, Schumann, and Liszt are particularly acclaimed by critics for their depth and sensitivity.

Helpful liner notes are included, in English only. There is a long resume of Etsuko Hirose’s distinguished career.

I enjoyed this disc evoking the delights of a Thousand and One Nights and their heroine, Scheherazade. The pianist has created lovely performances of enchanted music that will appeal to lovers of fairy tales of all ages.

Track Listing:
Nikolai Rimsky-Korsakov (1844-1908)
Symphonic Suite: Scheherazade, op.35 (1888), arr. Etsuko Hirose (b.1979)
Sergei Bortkiewicz (1877-1952)
Oriental Ballet Suite: Thousand and One Nights, op.37 (pub.1928)
Etsuko Hirose (piano)
rec. 2-4 September 2024, Théâtre Georges-Leygues, Villeneuve-sur-Lot, France
Danacord DACOCD 985

Arnold Bax: Legend for viola and piano (1929)

Just what the lore was behind Arnold Bax's Legend for viola and piano, is uncertain. It may be some tale from Ireland, so beloved by the composer. Or maybe from the dark forests of Scandinavia. Then again it could be the moors and mountains of the Western Highlands of Scotland. More likely there is no story, just a mood picture.

The Legend was completed during July 1929, whilst Bax was living at 155 Fellows Road, Swiss Cottage, London. The manuscript was dedicated to the American patroness, Mrs Elizabeth Sprague Coolidge who commissioned it. Sadly, her name was misspelt ‘Elisabeth’ on both the holograph and the published score. The latter was first issued in 1930 by Murdoch, Murdoch, and Co.

Bax had been working on his Symphony No.3 in London and Arisaig, Inverness-shire. It is full of vibrant colour and stormy, rhythmic drive, which captures his evocative, often mystical style. Much of it was written “in polar conditions in a dingy, unheated [North Scotland hotel] room working in an overcoat,” Other achievements in 1929 included the first recording of his Viola Sonata, with Lionel Tertis, and the premiere performance of his Symphony No.2 on 13 December in Boston, USA.

The overall impact of the Legend is straightforward. It is in a single movement, lasting for around ten minutes, and ostensibly in E minor, though with considerable chromaticism. The piece develops in three sections. It is characterised by rich harmonies and expressive melodies for both the viola and the piano. The Legend is a balance between Bax’s dreamy longing and episodes of disturbing malice. Throughout, he evokes a deep sense of narrative and wide-ranging emotion, which was typical of the composer. Yet, there is a dense, sinister atmosphere at times in this piece, especially at the beginning. This introverted mood gradually dissipates as the work progresses, before coming to a positive and satisfying conclusion.

The first performance of Legend for viola and piano was given at the Aeolian Hall, London on 7 December 1929. The soloists were Lionel Tertis, viola, and Arnold Bax, piano.

The Times (9 December 1929, p.10) reporter was not impressed by the organisation of the recital. He considered that “it certainly would have been better to have played the Mozart Sonata (K.305) later instead of at the beginning, to give Mr. Tertis time to feel completely at home: for once his playing did not show the expected clarity and ease.” Another reason was “the fact that…[the Mozart Sonata’s] delicate character would have stood out better against the general atmosphere of solemnity created by Brahms, op. 120, No.1.”  Other music heard at this recital included John Ireland’s Sonata No.2 in A minor and his The Holy Boy as well as the Tartini–Kreisler Fugue, W. H. Reed's Rhapsody, and a Fantasia by York Bowen for four violas. In this latter number, Tertis was assisted by Rebecca Clarke, Dorothy Derbyshire-Jones, and Winifred Copperwheat. Turning to the Legend, the unsigned critic, (possibly H.C. Colles) felt that “Mr. Bax's work is well laid out, and it was well played, and its rather gloomy mood might perhaps have been more acceptable with brighter and more cheerful surroundings.”  Overall, during the recital there was “less opportunity than usual in this scheme of admiring the remarkable variety of tone which Mr. Tertis can obtain from his instrument, and it must be confessed that the sombre colouring which prevailed did rather tend to become monotonous.”

The Daily Telegraph (9 December 1929, p.6) critic Ferruccio Bonavia, considered that “The first performance of Mr. Arnold Bax's Legend…added considerably to its interest; for, if original compositions for other instruments are far from common, original compositions for viola are exceedingly rare.” He stated that “As could be expected from so distinguished a composer, the Legend exploits effectively the genius of the instrument without, however, placing this before musical and aesthetic considerations. The solo part is far from easy, but there is no opportunity for acrobatics. The tests to which the interpreter must submit are of a different nature; tone quality, phrasing - these are the chief requisites of this highly imaginative work which Mr. Tertis appeared to understand in perfection. The piano part was played by the composer himself, and both composer and interpreter were warmly applauded by the audience.”

John White (2006, p.114) quoted Rebecca Clarke’s diary, where she lamented the “Poor audience and he (Tertis) didn’t seem very happy.” He then quotes a review from the Musical Times (January 1930, p.69) “The new Legend for viola and pianoforte by Arnold Bax which Mr. Lionel Tertis introduced at his concert at Aeolian Hall on December 7 [1929], is in one continuous movement. A first, and single hearing impresses it on the memory as being in the rich style of shifting harmonic colour that Bax now most often uses. The viola part, played in this instance with Mr. Tertis’s astonishing mastery and exquisite control of tone, is free and dramatic.”

Listen to Arnold Bax’s Legend for viola and piano on YouTube, here. The performers are Martin Outram (viola) and Julian Rolton (piano) on Naxos: 8.557784

Bibliography:
White, John, Lionel Tertis: The First Great Virtuoso of the Viola, The Boydell Press, 2006

A Happy and Prosperous New Year

To All Readers of

The Land of Lost Content

Some Significant (and less so) Composer Anniversaries for 2025:

 Bi-Centenaries:

William Baly

Mary Gabriel

Kate Loder

Frederick Arthur Gore Ouseley

150 Years:

Samuel Coleridge Taylor

Albert Ketèlbey

Sydney H Nicholson

Norman O’Neill

Cyril Rootham

Martin Shaw

Donald Tovey

William Gillies Whittaker

Centenaries:

Tristram Cary

Ronald [Ron] Goodwin

Anthony Milner

Daphne Oram

 Continental Composers Anniversaries

Johann II Strauss (200)

Reinhold Glière (150)

Reynaldo Hahn (150)

Maurice Ravel (150)

Pierre Boulez (100)

Luciano Berio (100)

Gunther Alexander Schuller (100)

Looking at the above list of British composer anniversaries, the only one that will resonate with concertgoers is Samuel Coleridge Taylor (1875-1912). Already reasonably well represented on CD and regularly heard on Classic FM, this year could be a good opportunity to get to know his music better. Surely at least one performance of the epic The Song of Hiawatha will be given a concert performance. Other works that may be heard are the Christmas Overture, the Petite Suite de Concert, and his Nonet in F minor. I wonder if there will be a place for the Symphony in A minor or the Violin Concerto in G minor at this year’s Proms?

Albert Ketelbey’s (1875-1959) short pieces of light music have clung on over the years. I guess that In a Persian Market, Bells Across the Meadow or In a Chinese Temple Garden may be heard over the coming weeks. Perhaps the Cockney Suite may be revived?

Sir Sydney Hugo Nicholson (1875-1947) was an influential English choir director, organist, and composer. He founded the Royal School of Church Music (RSCM) and compiled The Parish Psalter. Educated at New College, Oxford, and the Royal College of Music, he served as organist at Westminster Abbey and edited the Hymns Ancient and Modern supplement. Nicholson's hymn tunes, like "Crucifer" for "Lift High the Cross", remain popular in Anglican churches. It is unlikely that his choral ballets Ivry and The Luck of Edenhall will be resurrected.

It would be good if one or two of Norman O’Neill’s (1875-1934) numerous suites of incidental music were to be rediscovered. I am thinking of the score written for J.M. Barrie’s play Mary Rose. But he also wrote much chamber music, some of which has been recorded. And then there is the Overture: In the Springtime and A Scotch Rhapsody.

Cyril Rootham (1875-1938) was an English composer, educator, and organist. He was a Fellow and organist at St John's College, Cambridge, where he significantly influenced English music through his innovative programming with the Cambridge University Musical Society. Rootham composed two symphonies, much chamber music, choral works, and an opera, The Two Sisters. His contributions to music education and his revival of neglected works left a deep legacy in British music. His gorgeous setting of W.B. Yeats’s The Stolen Child or his choral City in the West [Bristol] could be revived.

Martin Shaw (1875-1958) was an English composer, conductor, and theatre producer. He is remembered for his contributions to church music, including editing Songs of Praise and The Oxford Book of Carols. Shaw composed over three hundred works, including hymns, carols, oratorios, and instrumental pieces. Hus work significantly influenced the revival of traditional English church music.

Best known for his seminal volumes of Essays in Musical Analysis, which set a high standard for music criticism, Sir Donald Francis Tovey (1875-1940) was a British musical analyst, musicologist, writer, composer, conductor, and pianist. Tovey made significant contributions to music education as Reid Professor of Music at the University of Edinburgh, where he founded the Reid Symphony Orchestra. His editions of works by Bach and Beethoven remain influential. Sadly, his compositions are precious few, though several have been recorded in recent times. This includes his Cello Concerto, Piano Concerto and Symphony in D major. Will he be recalled in concerts given this year by the prestigious Scottish Orchestras? I am not holding my breath…

William Gillies Whittaker (1876-1944) was a prominent English composer, pedagogue, conductor, musicologist, Bach scholar, publisher, and writer. Born in Newcastle upon Tyne, he initially studied science but later pursued music. Whittaker made significant contributions to British music, particularly through his work with the Newcastle Bach Choir and the Scottish National Academy of Music. He was best known for his arrangements of northern folk songs and his efforts to elevate music education. Whittaker's legacy includes his role as General Editor for Oxford University Press's Educational Music Department. He was also a friend and correspondent with Gustav Holst.

Works that could be revived in this his sesquicentennial year could include the remarkable Among the Northumbrian Hill for piano and string quartet (1922), his A Lyke-Wake Dirge for chorus and orchestra (1925).

Going back in time, I doubt there will be major celebrations for William Baly (1825-91). Born in Warwick he studied at the Royal Academy of Music with William Sterndale Bennett and Cipriani Potter. According to the British Music Society Composer Profiles (third edition, 2012) he composed a symphony, a string quartet, piano pieces, and part-songs.

Mary Gabriel (1825-77) is not a name known to listeners. In her day, she was famous for her many songs of which she composed more than three hundred. Her catalogue also included cantatas, and seven operettas, some with intriguing titles: Widows Bewitched, The Lion’s Mouth, Lost and Found, The Shepherd of Cornouailles and Who’s the Heir. Perhaps her Glamis Castle Waltz could be resurrected by an enterprising pianist. It might be a bit naïve, but it would make a good encore.

Kate Loder (1825-1904) was an English composer and pianist. Born in Bath, she was the daughter of flautist George Loder and piano teacher Frances Kirkham. Loder studied at the Royal Academy of Music, where she became the first female professor of harmony. She composed piano music, songs, and choral works. Loder married surgeon Henry Thompson in 1851 and gradually shifted from performing to composing and teaching. Her students included notable musicians, and her contributions to music education were significant.

Sir Frederick Arthur Gore Ouseley (1825-1889) was an English composer, organist, musicologist, and priest. He showed musical talent from an early age, composing an opera aged eight. He studied at Christ Church, Oxford, and was ordained in 1849. Ouseley founded St Michael's College in Tenbury Wells in 1856 designed to elevate Anglican church music standards. He served as Heather Professor of Music at Oxford and Precentor of Hereford Cathedral. His works include oratorios, anthems, and hymns, and he contributed to the revival of church music in England. I guess that the odd anthem at one of the Three Choir Cathedrals would be welcome.

I would be surprised if there is a big splash of events commemorating the centenaries of Tristram Cary (1925-2008) or Daphne Oram (1925-2003). Which is a pity, as both participated in the development of electronic music in the UK. Cary is best recalled for his film score to The Ladykillers, starring Alec Guinness, Cecil Parker, Herbert Lom, Peter Sellers, and for his music for Doctor Who’s Dalek films. Oram was a co-founder of the BBC Radiophonic Workshop.

Ron Goodwin (1925-2003) is remembered for his film scores, especially the Miss Marple films featuring Margaret Rutherford, Where Eagles Dare and Force Ten from Navarone. But his greatest success was 633 Squadron, based on a fictional WW2 bomber squadron.

Bristol-born Anthony Milner (1925-2002) was a British composer, teacher, and conductor. He studied at the Royal College of Music, Herbert Fryer for piano and music theory with R. O. Morris. Milner’s compositions evolved from early influences by Michael Tippett, eventually finding his own voice within an essentially tonal style. His choral works, often with religious texts, stand out, and he also wrote orchestral and chamber music. It would be splendid to hear one of his choral works, such as Roman Spring, or his Symphony No.1.

Finally, I think that there may be celebrations here and abroad for Maurice Ravel. To what extent the centenaries of Pierre Boulez, Luciano Berio and Gunther Alexander Schuller will be honoured in the UK is anyone’s guess.