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…