Early One Morning in Kensington: Music for flute and piano

More than fifty years ago, when I fondly and mistakenly imagined that I might become a composer, I found a remarkable set of books by Ebenezer Prout about composition in a second-hand bookshop in North Wales. I invested in them, and still have them, sad to say largely unread. He is a name that drifts through the history books. This English musicologist, critic, composer and teacher with a Dickensian name, has precious few recordings to his credit. There are a CD of the Clarinet Sonata and a YouTube video of his Symphony No.4: not much to base an appreciation of his achievement.

The present Sonata in A major for flute and pianoforte, op.17 dates from 1882, but as the liner notes are correct in pointing out, there is nothing here that could not have been written in 1832. The models for this essay would include Haydn and Schubert, but hardly Mendelssohn. After an imaginative opening Allegro con anima, the flautist and pianist engage in a Romanza, an operatic “scena’ which is the most rewarding part of this Sonata. The final Rondo is a delight. This music is not as dry as dust as may be expected from a pedagogue, but is charming, often light-hearted, and downright enjoyable.

Frederic Archer (1838–1901) was a British organist, conductor, and composer who, in 1895, founded the Pittsburgh Symphony Orchestra. His undated Duo Concertante for flute and pianoforte is a genuine dialogue between equal partners. Although completed around the same time as Prout’s Sonata, this piece feels more modern and timeless.

The most important work on this CD is Edward German’s delightful Suite for flute and piano. It dates from 1892. For those who decry English Victorian music, this is a revelation. To be sure there are hints of Arthur Sullivan and even Elgar. I have noted before that there are one or two intimations of Malcolm Arnold in the opening Valse gracieuse and elsewhere! The heart of the Suite is the Souvenir, which has considerable depth and regret. Was it a love-song? I like the final Gypsy Dance which is pure invention having no relation to Romany melodies and rhythms but appears to be a tongue in cheek caricature. It is fun.

German’s Romance (1892), Intermezzo (1894), and Saltarello (1889) all for flute and pianoforte could be construed as another Suite. The three numbers go well together and make a satisfying whole. The first two movements are a subtle balance of “wistful charm” as well as moments of “greater passion.” The Saltarello, which Howell informs us is really a Tarantella is a barnstorming energetic dance. It makes a good finale to the “Suite” and would make a splendid encore.

The Old English Melody is a “spin-off” from German’s 1901 incidental music to English Nell, a play by Anthony Hope, author of The Prisoner of Zenda, and Edward Rose. German derived a concert overture and three dances from the score. Significant use of the tune Early One Morning appears in the overture, and this is replicated in the present offering, but is more thoughtful.

Edward German’s Savoy Opera A Princess in Kensington (1903) has a complex and wayward plot. It could be summed up as a story of English fairies protesting a royal marriage between Princess Zara and Prince Albion, fearing it will end their reign. They enlist Puck and mischievous spirits to sabotage the union, but love prevails. The opera blends Edwardian fancy with folklore, fantasy, and comic charm. It was never deemed to be as successful as Merrie England or Tom Jones. I was unable to find a recording of the full stage work. The mysterious composer Henri Leclaire (was this a pseudonym?) wrote a Fantasia on Themes from this operetta. He uses a couple of ‘hit’ numbers including, “Seven o’clock in the morning,” and the hornpipe “He was a simple sailor man.” It ends with a “vivacious coda.” This is a pleasing novelty that could easily find a place in the repertoire of flautists; however, I doubt that the opera will be revived any time soon.

The playing by Gilberto Fornito (flute) and Christopher Howell (piano) is sincere and never patronising. The recording is first-rate and the liner notes by Howell are excellent, giving all the detail needed to enjoy this interesting repertoire.

This entertaining CD explores rare English flute and piano music. Prout’s Flute Sonata, though stylistically conservative, reveals charm and operatic flair. Frederic Archer’s Duo Concertante offers a more modern sensibility, while Edward German’s Suite and companion pieces blend Victorian elegance with wit, pathos, and dance-like vitality.

Track Listing:
Ebenezer Prout (1835-1909)
Sonata in A major for flute and pianoforte, op.17 (1882)
Frederic Archer (1838-1901)
Duo Concertante for flute and pianoforte (??)
Edward German (1862-1936)
Suite for flute and pianoforte (1892)
Romance for flute and pianoforte (1892)
Intermezzo for flute and pianoforte (1894)
Saltarello for flute and pianoforte (1889)
Old English Melody (“Early One Morning”) for flute and pianoforte (1901)
Henri Leclaire (Late 19th Century)
Fantasia on Themes from Edward German’s Savoy Opera “A Princess in Kensington” (1903)
Gilberto Fornito (flute), Christopher Howell (piano)
rec. 2023 Studio of Griffa e Figli, Milan, Italy
Da Vinci Classics CO1086

Minor Masterpieces of Organ Music No.3: Louis Vierne’s Berceuse

Most readers of this journal will have played on a harmonium at some stage in their career. If, like me, you have not been overimpressed by one of these instruments, it will hardly be surprising. Regularly found in a remote kirk, they will often suffer from damp, sticking notes and out of tune reeds. They are not ideal for leading a congregation in rousing hymns or giving a powerful recessional at the close of the service.

It will surely come as a surprise to certain listeners that Louis Vierne’s (1870-1930) Berceuse was written for this Cinderella of keyboard instruments. And what is more, so were all the other numbers in the “24 Pièces en style libre,” op.31. This includes the dynamic warhorse Carillon – sur la sonnerie du Carillon de la chapelle du Château de Longpont (Aisne) and the nippy, incisive Divertissement.

To be sure, the instrument that Vierne had in mind was unlike the ubiquitous American reed organ which sucks air over the reeds. The Victor and Auguste Mustel harmonium blew air across the reeds, resulting in something a little more akin to a pipe organ. For the record, the composer is known to have disliked the harmonium. He is said to have described it as a “big nasal accordion” and a “pitiful caricature of the pipe organ.”

Berceuse (sur les paroles classiques) is Vierne’s most played work, if not his most significant. For every organist who can play the Final of the Symphony No.6 or Les cloches de Hinckley from the Vingt-quatre pièces de Fantasie, there are dozens who can make a reasonable fist of this beautiful cradle song.

The “24 Pieces en style libre” were completed in the year preceding the outbreak of the First World War. The two volumes, each with twelve pieces, were published by Durand & Co. in 1914. It was at a time when the composer was exploring other genres. From this period dates his song cycle Stances d'amour et de rêve, op. 29, and the Sonate for cello and piano, op.27. Personally, in the early Autum of 1913, his young son, Andre died whilst the family were holidaying at Juziers, Île-de-France.

Vierne was inspired by an old French tune - “Dodo, l’enfant do” which was based on an ancient carillon rung at the midday Angelus. The text of the Lullaby was ‘Sleep, Child/The Child will sleep soon.’ The Berceuse carries the dedication ‘a ma fille COLETTE’ – his seven-year-old daughter.

Structurally, Berceuse is an interesting development of a basic musical form. The traditional ternary form (A B A) is used in more than a third of the Pieces en style libre. Often in works using this formula, the B section contrasts with the A with the introduction of new melodic, rhythmic, or harmonic material. Not so the Berceuse. Vierne has used a modification of this form: Statement – Development – Restatement, with an added coda. Thus, it becomes a monothematic composition.

One version of the original melody was as below:

Using this as inspiration, Vierne opened his Berceuse thus:

 

Of interest is the “call and response” motif on the second page:

Berceuse is written in A major, however it has a slightly unstable tonality. Many bars are diatonic, nevertheless some of the phrase endings step out of key. Harmonically, Vierne makes ample use of open fifth chords, often in both hands, but sounding as Major or Minor 7^th chords.The ‘restatement’ towards the conclusion is coloured with chromatic notes in the ‘alto’ part. The piece concludes with a long coda (19 bars) ending on an A major chord with an added sixth.

It is doubtful that the registration suggested by the composer would have been as effective on the harmonium. The Great organ calls for a flute and the Swell requires two string stops - a Gambe and the Voix Celeste. These latter give the Berceuse a dreamy, sleepy quality. The pedal requires 16’ and 8’ Bourdons. 

In its simple form and comforting melody, this is a Cradle “Song without Words.” Its harmonic treatment is free, relatively modern, and unique, reflecting the incomparable style of Louis Vierne. This is original and noteworthy music with a distinct and individual beauty.

With thanks to the Glasgow Society of Organists Journal where this essay was first published.