A few pointers to the life and
achievement of the composer. Don Banks was born in South Melbourne, Australia
on 25 October 1923. His early career concentrated on jazz piano and arranging. In
1950 he came to London as secretary to Edward Clark, then head of music at the
BBC. Later, he studied with Mátyás Seiber in the Capital and with Luigi
Dallapiccola in Florence. His catalogue is varied with a wealth of chamber music,
two effective concertos (one for horn and one for violin) and several Third
Stream/Crossover works. He was successful in the Hammer film studios with many
scores to his credit, especially horror movies. Finally, Banks was never averse
to writing light music. His technical vocabulary extended from his preferred serialism
to electronics as well as jazz. Stylistically, his music (the few pieces I have
heard) are infused by drama, lack of pedantry and wit. Everything is
well-crafted, and ideally suited to the chosen instrumentation.
In 1972 he returned to Australia,
where he held the post of Chair of Composition at Canberra School of Music and
latterly at the Sydney Conservatorium of Music. Don Banks died on 5 September
1980, aged only 56 years.
An effortless way to begin exploring this CD is with the Five North Country Folk Songs. Dating from 1953, this work was written for the Swiss soprano, Sophie Weiss, who was living in London at the time. Listeners who know Seiber’s Three Hungarian Folk Songs will spot the influence of teacher on pupil immediately. And Benjamin Britten’s folk song settings may have functioned as a spur as well. As the liner notes explain, Banks “spices up these traditional melodies with piquant harmonies and unexpected rhythmic twists.” There is a well-wrought piano accompaniment which adds to the songs’ success.
The tunes set are Buy Broom
Buzzems, My Bonny Lad, King Arthur’s Servants, Bonny at
Morn and O the Bonny Fisher Lad.
Don Banks’s Trio for horn, violin and piano was composed in 1962, and dedicated to the Australian instrumentalist Barry Tuckwell. The liner notes do not mention that it was first performed at that year’s Edinburgh Festival, played by the dedicatee and Brenton Langbein (violin) and Maureen Jones (piano).
The work is not “officially”
serial, although it often sounds like it might be. It has been well described
as atonal but making considerable use of the dodecaphonic composers’ tricks of
the trade, such as canon, retrograde and inversion and close thematic
relationships. It does not matter really except to the musicologist. Banks has
created a rewarding score that explores several moods and styles. Antony Payne
(Tempo, Winter 1966-67) has well described it as “[embodying] a warm and
romantic atonalism.” To this could be added several nods to jazz, especially in
the highly syncopated finale. The first movement opens with a dramatic
introduction and is immediately followed by lyrical music. The central Adagio
espressivo is elegiac in mood, with a “long arching melody” for the horn, later
balanced by “a grazioso episode for violin and piano only.” (Liner Notes). Overall,
there is a touch of humour in this Trio that enlivens this “robust and
uncluttered music.”
Despite its title, the Prologue, Night Piece and Blues for Two for clarinet and piano (1968) is not a crossover work. To be sure there are several nods to jazz, but the general mood is strictly classical and probably serial. The Prologue is forceful and acerbic, whilst the Night Piece is gently and dreamy. There is a touch of “swing” in the opening section of the Blues, however this soon gives way to a cadenza and a dramatic close.
Serialism plays a significant role in the Three Studies for violoncello and piano. The liner notes explain that this work, dating from 1954, reflects the profound influence of his teacher Luigi Dallapiccola. Despite the use of all the twelve-tone paraphernalia of “canon, retrograde and inversion,” these Studies present deeply thought out melodic and formal structures. The opening study is dramatic, whilst the second presents an involved recitative for solo cello, with several gnomic interruptions from the pianist before a “violent outburst from both players.” (Liner Motes). This movement ends calmly. The finale is a robust scherzo.
Like many examples labelled as Sonatinas, Don Banks’s example for piano is no cinch. It was written in Melbourne in 1948, before he left for London. This is no serial composition but pushes the concept of C sharp minor to the limits. It is a highly chromatic piece that the booklet suggest may have been inspired by the “daringly free chromaticism of Margaret Sutherland, who at that time was one of Melbourne’s leading composers…” The opening Andante – Moderato is conceived in sonata form with an animated main subject, contrasting with an expressive second theme. There is little time for development, however several derived sections add interest to the proceedings before the formal recapitulation. The second movement, Lento espressivo, opens with a fugato section, building to a climax and followed by a chorale-like tune. The Sonatina closes with an interesting rondo, using a big, gutsy refrain, and highlighting several contrasting and sometimes wayward episodes. Altogether an enjoyable work, which deserves to be better known by pianists.
Don Banks regarded his Sonata for violin and piano (1953) as his “Op. 1.” The booklet explains that it “by no means follows classical sonata form.” What Banks has done is create a mosaic of highly contrasting sections which are patched together to make a convincing whole. Some of these are developed as the music progresses. The Sonata ends on a hugely optimistic note. The listener will be struck by the constant evolution of thematic material, over which the composer has complete control: there is no padding. Every bar of this 15 minute Sonata is essential to its overall impact. It was dedicated to Mátyás Seiber.
The most challenging work on this CD is Tirade for mezzo-soprano and chamber ensemble finished in 1968. It is a setting of a poem by Australian born, but London based, poet Peter Porter. I confess that many of the text’s allusions are a little beyond my grasp. There are several references to antipodean events and culture. I guess that the overall plot of this ironic poem is a tilt at the then current “alleged philistinism of [the arts] of Australia.” (Liner Notes)
Tirade requires a massive
battery of tuned and untuned percussion instruments including a siren, harp and
piano. The marvel of this piece is the diversity of the vocal line as it
explores this pop-poem. Jenny Duck-Chong presents the listener with spoken
words, sprechstimme, shouting, a scream, jazz scat and “normal” vocalisation.
It is always supported by a perfectly contrived accompaniment. This latter often
sounds improvised, but I understand that it is all notated exactly.
Many years ago, Peter J Pirie
summed up Tirade in the Musical Times (December 1969) as
representing the “middle avant-garde” which seemed at the time to have a
penchant for vocal solo with instrumental (largely percussive) accompaniment. Pirie
considered that it “was one of the more successful specimens.” Truly, adjectives stack up: explosive, manic,
impressionistic, improvisatory, energetic. It is one of the most approachable
works of its kind from the 1960s. It deserves revival in the concert hall.
The performance of all this material is excellent and clearly sympathetic: it is complimented by a clear and vibrant recording. The helpful booklet notes were written by the present pianist Daniel Herscovitch. I am grateful to them in preparing this review. They include detailed comments on all the music, the texts of the songs and brief biographies of the performers.
Next year (2023) sees the Centenary of the Birth of Don Banks. I wonder how extensively it will be celebrated in the concert hall and the recording studio? One thing for sure, the present CD gives the composer an enjoyable and satisfying early birthday present.
Track Listing:Don Banks (1923-80)
Trio for Horn, Violin and Piano (1962)
Five North Country Folk Songs (1953)
Prologue, Night Piece and Blues for Two for clarinet and piano (1968)
Three Studies for violoncello and piano (1954)
Sonatina in C sharp minor for piano (1948)
Sonata for violin and piano (1953)
Tirade for mezzo-soprano and chamber ensemble (1968)
Robert Johnson (horn), Ole Böhn (violin), Jenny Duck-Chong (mezzo-soprano), Francesco Celata (clarinet), Geoffrey Gartner (cello), Rowan Phemister (harp), David Kim-Boyle (siren), Alison Pratt, Daryl Pratt and Joshua Hill (percussion), Daniel Herscovitch (piano).
rec. September/November 2020, Recital Hall West, Sydney Conservatorium of Music, Australia
TOCCATA CLASSICS TOCC 0591
With thanks to MusicWeb International
where this review was first published.
