Peter Racine Fricker: Comedy Overture (1959)

One of the most significant CD releases in the past decade has been Peter Racine Fricker’s Symphonies 1–4 on Lyrita (REAM.2136). This two-disc survey also features the lively early Rondo Scherzoso (1948) and the spirited Comedy Overture from 1958. This Overture was composed during a ten-year gap between the Second (1951) and Third Symphonies (1960). Important works from this period includes the Litany for double string orchestra (1956), the oratorio The Vision of Judgment (1958), Concertos for Piano (1952) and for Viola (1953), several films scores and some incidental music.

The Comedy Overture was commissioned by the Friends of Morley College as a part of the celebrations marking the completion of the rebuilding works at the College. This included the ‘magnificent’ new Emma Cons Hall. At this time, Fricker was musical director at the college.

Two concerts were given. Geoffrey Madell, in the Musical Times (February 1959) felt that both were ‘disappointing.’ The first concert, on 5 December 1958 included Mozart’s Sinfonia Concertante for violin and viola (K.364), Ralph Vaughan Williams’ Flos Campi and Henry Purcell’s Ode for St Cecilia’s Day. It was at this concert that Fricker’s ‘light and attractive’ Comedy Overture received its premiere. The performers included the Morley College Chamber Orchestra conducted by Fricker.

The second concert was presented on 9 December, and featured the Morley College Symphony Orchestra, conducted by Malcolm Arnold. According to the Musical Times (op cit.) ‘brave attempts were made at Sibelius’ En Saga and Tchaikovsky’s Francesco da Rimini, but the ensemble was often poor.’ Joyce Hatto played Liszt’s Totendanz and a ‘piano concerto movement attributed to Beethoven.’ The concert also saw the premiere of Iain Hamilton’s breezy pastiche Overture: 1912, which is a parody of music-hall entertainment.

Paul Conway, in his liner notes for the Lyrita CD has written that the Comedy Overture “is reflected in the main theme whose blithe resilience suggests a celebrated quote attributed to Fricker’s illustrious ancestor: ‘Life is a comedy to those who think, a tragedy to those who feel.” The tempo remains Allegro vivace throughout and a feature is made of solos for all the woodwind instruments.’

The Times (6 December 1958) reviewer suggested that ‘one does not automatically associate Mr. Fricker with a gift for the comical in music and his overture, as expected, was scarcely ribald. But it had the pace of comedy and its light expert textures, and deft invention made an agreeable start to the evening. The dry, Stravinsky-like rhythms and sonorities of the work sounded well, which may say something encouraging for the acoustics of the [new] hall. Certainly, the Morley College Chamber Orchestra deserve praise for their share in a successful premiere.’

While I concur that the piece is not ‘ribald,’ its character is imbued with wit - a quality far more nuanced and challenging to convey effectively.

A contrary view is given by David Barker (MusicWeb International, August 2022): “I can’t disagree that it is well crafted, and maintains a fast tempo throughout, but I find it very cold and could not imagine smiling whilst listening to it.”

The performance of the Comedy Overture on Lyrita was played by the BBC Northern Symphony Orchestra, conducted by Albert Rosen. It was part of the BBC’s celebration of Peter Racine Fricker’s 60th birthday, presented on 17 September 1980. The broadcast also included the Piano Concerto (1954) Symphony No 2 (1952).

Listen to the Lyrita recording of Peter Racine Fricker’s Comedy Overture on YouTube, here.

 

Twentieth Century Music for Horn and Piano

Unless you are an aficionado of horn music, I recommend exploring this CD a few tracks at a time. I started with the “Bonus Tracks” beginning with Henry Eccles’s (1670-1742) Sonata in G minor. London-born Eccles was a composer and violinist and was a member of the King’s Band. Feeling somewhat neglected, he moved to Paris where he joined another Royal Band. His most infamous work collection was Twelve Solos for the Violin, published in 1720. Unfortunately, this was not entirely his own endeavour. He had lifted several pieces from a certain Guiseppe Valentini. The present “Horn Sonata” was No.11 of this volume. It does seem to have been written by Eccles himself. It was transcribed for horn by the American horn virtuoso, Joseph Eger. The Sonata works well in this arrangement. The four movements are well balanced and full of interest. The slow introduction is followed by three lively dances. 

David Gwilt (b.1932) is a Scottish composer who has worked much of his life in Hong Kong. The present Sonatina for horn and piano dates from 1952. It is very much a piece of its time. The opening Allegro is spiky with a wide-ranging solo part. After some brassy fanfares, the second subject is a bit more reflective. The slow movement is a lovely piece of soul-searching. The mood lightens with the lively and breath-taking rondo. David Gwilt, for some reason, is virtually unrepresented in the current CD catalogues.

The track listing announces Arthur Cooke’s Rondo in B flat. And herein lies a wee drop off. This vibrant piece, dating from 1950, is by Arnold Cooke (1906-2005). It became “an appealing encore piece for instrumentalists”. The present horn soloist, Ifor James, is quoted as saying that “the work captures the qualities of the instrument superbly.”  It is a pleasure to hear this “jaunty” hunt inspired piece of neo-classicism. Interestingly, there was a rather shadowy composer, singer, pianist and conductor called Arthur Cooke. He was born in 1879 and died at a time unknown.

The last of the Bonus Tracks is one of relatively few compositions by Alan Abbott. Much of his career was spent as a music producer and music director, with the BBC, the Turkish State Ballet, the Australian Ballet and more. The Alla Caccia is an engaging little number that hides an unforgettable tune amongst the hunting fanfares inherent in its title. The slow middle section is deliciously romantic and moody.

Turning now to the main events on this CD. Peter Racine Fricker wrote his Horn Sonata, op.24 for the legendary Dennis Brain. It was premiered by the dedicatee and the pianist, Harry Isaacs at the Conway Hall on 20 March 1955. It is typical of the composer at this period. The progress of the music is tightly controlled, and often austere. The opening movement is written in sonata form and has a concise development section. There is a balance here between intensity and expressiveness. The second movement Scherzo is quicksilver, with some remarkable double and triple tonguing. Strangely, the heart of the work is the slow finale. This is a rondo, but certainly not a rollocking one. It is a successful Sonata, with Fricker brilliantly mastering the difficult art of combining the horn and piano.

Carl Nielsen wrote his short Canto Serioso in 1913.  I understand that it was originally an audition piece for aspirants to the Copenhagen Opera Orchestra. The band needed a “low horn player” hence the extensive use of the lower register in this piece. It is a moody, romantically charged miniature.

The main event on this CD are the two Horn Sonatas by the German Paul Hindemith. I admit to not being a huge fan, and I guess I rarely choose to listen to his music. Nevertheless, when I do hear something by him, I invariably enjoy it. The Sonata No.1 in F major was completed during November 1939, shortly after the outbreak of the Second World War. It was only a few weeks later that Hindemith left Switzerland bound for America, and a teaching career at Yale University. The opening movement deploys widely contrasting themes of a stately and lyrical nature. This is underpinned by some aggressive rhythms. There is a sense of militaristic bombast here. The second movement opens with a long solo passage for the piano, before the horn introduces a second theme. It typically presents a mood of calm and melancholy. However, this is brusquely kicked into touch by the flamboyant finale, which opens with “bustling energy”, soon to be followed by a quiet interlude. The remainder of this movement is characterised by “heroic” and colourful “show-off” music. I was surprised at how much I enjoyed this piece. It is clearly a work of its time, balancing menacing thoughts and lyrical reflection at a time of great danger for civilisation.

The other work by Hindemith is the Althorn Sonata in E flat major. This was composed in 1943 whilst he was on holiday in the Berkshires, in Western Massachusetts. There was a problem. Hindemith’s publisher refused to issue the work, as they felt it was written for an antique instrument, only played in musical fanfares and by amateurs. Later, Schotts did publish the Sonata, on condition that it could be played on the contemporary French horn.  There are some novelties in this piece, including a spoken dialogue heard before the final movement, a mysterious Morse Code message in the second and possible references to numerology. The formal construct of the work is a Sonata da chiesa – four movements, a slow introduction, a fugal allegro, a slow cantabile and a rapid finale.

The poem may reflect the composer’s thoughts about his German childhood, when the mail was delivered by horse and carriage, and the postman still blew his post horn to announce his arrival. In Germany today, the symbol of the Post Office (Deutsche Post) is the Althorn.  I enjoyed this enigmatic Sonata. It is well played here, full of interest and with a hint of mystery to add a touch of spice.

Little need be said about the performances here. They are ideal. Details of the horn player Ifor James and the composer/pianist John McCabe can easily be found on the Internet. The liner notes, by Robert Mathew Walker are excellent and provide a readable introduction to the music. It is interesting that he does not mention the esoteric mysteries of the Althorn Sonata. As noted above, the track listing refers to Arthur, rather than Arnold Cooke, an easy mistake to make. The insert is printed on flimsy computer paper, which does detract from the overall packaging of this CD. Eagle eyed readers will have noticed that there are no recording dates or venues included in the track listings above. They are not given in the CD documentation. I asked the record company about this. Seemingly, the apparatus is a “bit sketchy”. It is known that the Hindemith Sonata in F, the Fricker, the Nielsen and the Abbott were recorded sometime during January 1968. Hindemith’s Althorn Sonata was never released. Finally, the Eccles, Gwilt and Cooke were released in 1979 on the Cornucopia record label, which was privately owned by Ifor James.

Heritage Records are to be congratulated on exhuming these excellent recordings from the archives. The re-mastering by Paul Arden-Taylor is superb throughout.

Track Listing:
Paul HINDEMITH (1895-1963)
Sonata No.1 in F major (1939)
Althorn Sonata in E flat major (1943)
Peter Racine FRICKER (1920-90)
Horn Sonata, op.24 (1955)
Carl NIELSEN (1865-1931)
Canto Serioso (1913?)
Henry ECCLES (1670-1742) (arr. Joseph EGER (1920-2013)
Sonata in G minor (c.1720)
David GWILT (b.1932)
Horn Sonatina (1952)
Arnold COOKE (1906-2005)
Rondo in B flat (1950)
Alan ABBOTT (b.1926)
Alla Caccia (1948) [2:40]
Ifor James (horn), John McCabe (piano)
Rec. Not given (See Below)
HERITAGE HTGCD 164
With thanks to MusicWeb International where this review was first published.

Celebrating Peter Racine Fricker’s 100th Anniversary

Peter Racine Fricker (1920-90) is often regarded as an énfant terrible of British music: especially by people who do not know his music. Yet, he was once deemed to be one of the most promising post-war composers (along with Humphrey Searle and Iain Hamilton). Fricker has a reputation of being a radical. Certainly, his prevailing aesthetic was far removed from the pastoralism of Vaughan Williams and the post-Elgarian bombast of William Walton. Instead, he turned towards Arnold Schoenberg, Béla Bartok, and Igor Stravinsky for musical inspiration. Looking back on his musical achievement from 2020, we see a composer who created ‘an impressive body of work in his highly expressive, urbane and freely atonal language.’ (Lyrita CD Advert). Critically, it has been suggested that the lack of interest in Fricker’s music may be that its style falls between two stools: too traditional for the late twentieth century avant-garde enthusiasts and too ‘modern’ (‘progressive’ and ‘aggressive’) for more traditional listeners.

Brief Biography of Peter Racine Fricker

• Peter Racine Fricker was born in Ealing, London on 5 September 1920. As his name implies, he was a descendant of the French playwright Jean Racine.
• After attending St Paul’s School, London, Fricker entered the Royal College of Music (RCM). His tutors were R.O. Morris for composition and Ernest Bullock for organ.
• Five years of war service were completed between 1941-1946. Fricker was a radio operator in the Royal Airforce.
• After the war, Fricker had further lessons with the Hungarian emigré composer Mátyás Seiber at Morley College.
• Fricker married Audrey Clench in 1943.       
• In 1947 he secured the A.J. Clements Prize for his Wind Quintet, op.5.
• Two years later, Fricker gained the Koussevitzky prize with his Symphony No.1.
• In 1951 Fricker won the Arts Council Festival of Britain competition for young composers’ prize with his Violin Concerto. He was aged 31 years.
• Fricker accepted the headship of Morley College (1952-64) succeeding Michael Tippett.
• Three years later he was appointed Professor of Music (1955-64) at the RCM.
• In 1964, Fricker moved to the United Stated as visiting professor of music at the University of California, Santa Barbara, and in 1970 he became Chair of the Music Department there.
• Fricker was appointed composer-in-residence of the Santa Barbara Symphony Orchestra in 1989.90
• Peter Racine Fricker died in Santa Barbara on 1 February 1990.

Fricker’s compositions include five symphonies, several concertos, numerous chamber music pieces and various piano and organ works as well as the major choral work The Vision of Judgement, recently released on Lyrita. It is unfortunate that after Fricker moved to the United States, his music was largely forgotten, certainly until the recent revival by the recording industry. 

Bibliography

At present (2020), there is no standard biography of Peter Racine Fricker. Details of his life and work must be pieced together from dictionary and encyclopaedia entries as well as obituaries and other published sources. Detailed analysis of his music is limited to a handful of dissertations and thesis as well as references in the several studies of British post-war music. An important chapter in Francis Routh’s Contemporary British Music was published in 1972 and available online at MusicWeb International. Several essential articles about the composer are available in Music and Musicians, The Listener, and Music Review. There are plenty of historic concert and CD reviews in daily newspapers and music journals. The University of California, Santa Barbara maintains an ‘online’ catalogue as well as the Fricker Archive. There is no website devoted to the composer. 

I have posted a dozen articles and reviews of Fricker’s music on my blog, The Land of Lost Content. Essays here include a detailed study of the Wind Quintet, op.5 (Part I and Part II) and the Rondo Scherzoso (1947) as well as a comprehensive review of the Naxos recording of the String Quartets. 

Six Key Works:

Any appreciation of Peter Racine Fricker’s music is hampered by the lack of available recordings. At present, the Archiv website lists a dozen CDs which between them features about 20 works. Exploring file sharing groups and YouTube will reveal many more. Yet, any assessment must be based on commercially recorded music. Certainly, Fricker seems to rarely feature in the concert hall or recital room. The listener is fortunate in having recordings of the five symphonies, the Concerto for Violin and Small Orchestra op. 11 and The Vision of Judgement (all on Lyrita) as well as the Naxos disc of the complete string quartets and the complete organ works from Toccata.  

So, the list of five key works is limited to what is available on CD, download or streaming.  Check YouTube for uploads of these works. The first two pieces are immediately approachable: 

• ·         Rondo Scherzoso (1948) (Lyrita REAM.2136)
• ·         Comedy Overture Op. 32 (1958) (Lyrita REAM.2136)
• ·         Litany for double string orchestra, op.25 (1956)
• ·         Symphony No.2 op.14 (1950-51) (Lyrita REAM.2136)
• ·         Violin Concerto op.11 (1950, rev.1974) (Lyrita SRCD.276) 

And, finally, if you have only time to hear one work:

The Litany for double string orchestra, op.25 (1956) may appear to be a strange work to recommend. However, I think that this piece could be regarded as entry level to Peter Racine Fricker. It was completed in 1955 and was premiered at the following year’s Cheltenham Festival. At the time, the work evoked superficial comparisons with Vaughan Williams’s Tallis Fantasia and Michael Tippett’s Double Concerto for string orchestra. In fact, Fricker’s music is edgier and bleaker than the older composers. The powerful effect of this music is derived from the plainsong motive and various tonal and 12-tone techniques deployed. Despite the austere nature of Litany, Fricker handles his material with skill resulting in some excellent scoring. It has been uploaded to YouTube.

Fricker’s achievement in composition has been summed up by Colin Mason, writing nearly 60 years ago: ‘All his works are distinguished by their concentration of thought, harmonic density, subtlety and inventiveness of structure and originality of design.’  

Peter Racine Fricker: Pastorale for organ (1959)

Peter Racine Fricker’s delightful ‘Pastorale’ (1959) for organ has long been regarded as ‘entry level’ for this ‘difficult’ British composer. I guess that this is a little unfair, as much (not all!) of Fricker’s music is perfectly approachable to all but the most sensitive ears. Certainly, compared to the contemporaneous avant-garde Darmstadt movement with which he was once involved, Fricker is typically lyrical and conservative in both form and sound.

It is not necessary to give a detailed biography of the composer in this essay, nevertheless a few notes about his career may be of interest. Peter Racine Fricker was born in London on 5 September 1920. He was descended from the French playwright Jean Racine. Fricker studied at St Paul’s School and then the Royal College of Music (RCM) where his tutors were R.O. Morris for composition and Ernest Bullock for organ. He had further lessons with the Hungarian emigré composer Mátyás Seiber at Morley College. He completed five years of war service between 1941-46.

Two early successes were his Wind Quintet, op 5 (1947) and the Symphony No.1, op.9 (1949). The latter gained the Koussevitzky award and was premiered at the 1950 Cheltenham Festival.  The following year Fricker won the Art’s Council Festival of Britain prize for his Violin Concerto. He accepted the headship of music at Morley College (1952-64) and later Professor of Music (1955-64) at the RCM.

In 1964, Fricker was visiting professor of music at the University of California, Santa Barbara, and in 1970 he became Chair of the Music Department there. Peter Racine Fricker died in Santa Barbara on 1 February 1990.

The Pastorale for organ was composed between 22-30 August 1959 (Fricker Catalogue) specifically for the Elizabethan Singers Concert series.  It was duly published by Schott in 1961. It is one of the few works by the composer to have remained in the repertoire. This is an easily assimilated piece that is reflective and less dissonant than some of Fricker’s contemporary pieces. It may be based in a tone row (or series) but this constructive scaffolding in not evident to the listener as the work progresses.

On the other hand, anyone looking for a ‘cow and gate’ countrified piece needs to search again. What Fricker has achieved is a reworking of the old idea historically associated with ‘shepherds abiding in the fields.’ The rustic nature of this music is increased by the repetition of phrases (often varied) and the inherent feeling of improvisation. The solo double-reed stop plays a wayward shepherd’s pipe tune which is accompanied by a ‘rippling figure. The bass provides the drones of mediaeval instruments such as the shawm, musette, bagpipes and hurdy-gurdy. Harmonically, the mood could be described and ‘tangy’ rather than dissonant. Certainly, the music presents a ‘dreamy atmosphere’ that is strangely impressionistic (especially from Fricker’s pen). The piece is simply structured being written in ternary (three-part) form.

Whether Fricker’s Pastorale has biblical inspiration, or the secular Theocritus and his Idylls, it is really does not matter, although the fact that it was premiered a few days before Christmas may suggest a Christian association.

The premiere of Peter Racine Fricker’s Pastorale for organ was given during a concert at All Souls Langham Place, London on 7 December 1960. The Elizabethan Singers were conducted by Louis Halsey with the organist was Richard Popplewell. The wide-ranging programme included music by Orlando Gibbons and Henry Purcell as well as several motets and organ works by twentieth century composers.

Amongst these latter, were three numbers from Bernard Naylor’s Nine Motets for five-part unaccompanied chorus (1952). These consist of texts drawn from the Church of England’s lectionaries. The programme also featured John Joubert’s ‘Tristia secla priora’ from the ‘Pro Pace’ Motets, op.32. Joubert has described this adventurous vocal work as 'a lament for man's intransigence and a protest against the making of weapons'. It received its premiere performance here. 

The organ music at this concert included Richard Drakeford’s Four Quiet Pieces and Fricker’s Pastorale. The Musical Time (February 1960) explained that Drakeford 'attempted to combine stylistic elements used in recent continental music with an English lyricism'. It is a work that seems to have disappeared from the organist’s repertoire. The reviewer (H.R.) suggested that Fricker’s piece ‘has much in it to engage both minds and fingers.’

I was delighted to see that Toccata Classics have released a wide-ranging survey of Fricker’s organ music (TOCC 0518). This is played on the magnificent Bridlington Priory three-manual organ by soloist Tom Winpenny. The album includes the Intrada, op.64 (1971), Five Short Pieces, op. 83 (1980), Toccata Gladius Domini, op.55 (1968/9),  Choral (1956), Praeludium, op. 60 (1969), Trio (1968), Recitative, Impromptu and Procession, op.92 (1985) and the Ricercare, op.40 (1965).

At least three recordings of the Pastorale have been made in the past:

Francis Jackson, The Organ of York Minster, Alpha Records, AVS 014 (SAGA 5326) (1964)
Donald Hunt, Music from Leeds Town Hall, Abbey Records, LPB 738.
Robert Weddle, The Organ of Coventry Cathedral, Vista Records, VPS 1021 (c.1973)

Peter Racine Fricker: Celebration of his 60th Birthday in 1980

Last year, I  reviewed the new CD from Lyrita (REAM 1124) featuring Peter Racine Fricker’s impressive oratorio The Vision of Judgment, op.29 (1957) and the equally striking Symphony No.5 for organ and orchestra, op.74 (1976). As part of my background reading for this review I discovered that The Vision had been originally been recorded on at Leeds Festival on 19 April 1974. It was subsequently broadcast as a part of the 1980 celebrations of Fricker’s 60th birthday. A little further research showed that the BBC broadcast a series of seven programmes over a two month period which featured a good selection of the composer’s music. I feel that that list of works presented make an ideal introduction to Fricker’s music. Most pieces are available on CD or YouTube.  Please note that the list of works is that proposed in the Radio Times: it is possible that there may have been some changes to the schedule. However, it remains an impressive survey of Fricker’s music.

Peter Racine Fricker was born in London on 5 September 1920 and died in Santa Barbara California on 1 Feb 1990.

Programme Schedule:

Friday 5 September 1980

Introduction:

‘Peter Racine Fricker is the most prominent in the generation of British composers to emerge after the 1939-45 war.’  Since the mid-1960s he has been a leading member of the Music Faculty at the University of California, Santa Barbara. On the occasion of Fricker's 60th birthday, Ian Kemp looks back over his music as a whole and previews Radio 3's seven-part orchestral and choral series which begins next Friday afternoon.’

Friday 12 September: Programme No.1

Rondo Scherzoso (1948)
Violin Concerto No.1, op.11 (1949/50)
Symphony No.1, op.9 (1948/49)

Yfrah Neaman (violin), BBC Northern Symphony/Bryden Thomson 

Wednesday 17 September: Programme No.2

Comedy Overture, op.32 (1958)

Concerto for Piano and Small Orchestra. Opus 19 – for Harriet Cohen (1954)

Symphony No.2, op.14 (1950/51)

David Wilde (piano) BBC Northern Symphony Orchestra/Albert Rosen

Monday 22 September: Programme No.3

Prelude, elegy and finale, op.10 (1949)
Concertante No.1 for cor anglais and string orchestra, op.13 (1950)

Introitus for orchestra, op.66 (1972)
Concertante No. 4 for flute, oboe, violin and strings, op.52 (1968)
Mustek's Empire, for chorus and small orchestra, op.27 (1955)

Barry Wilde (violin), David Haslam (flute), Gareth Hulse (oboe),  Colin Kellett (cor anglais), Sinfonia Chorus, chorus-master Alan Fearon, Northern Sinfonia /Norman Del Mar

Thursday 2 October: Programme No.4

Concerto for Viola and Orchestra, op.18 for William Primrose (1952/53)

Symphony No.3, op.36 (1960)

Csaba Erdélyi (viola), BBC Northern Symphony Orchestra/Edward Downes

Tuesday 7 October: Programme No.5

Rapsodia Concertante, for violin and orchestra (Violin Concerto No. 2) (1954)
Symphony No.4, op.43 ‘In Memoriam Matyas Seiber’ (1966)

Erich Gruenberg (violin), BBC Northern Symphony Orchestra/Maurice Handford

Tuesday 14 October: Programme No.6

The Vision of Judgement, op.29 (1958)
Jane Manning (soprano), Robert Tear (tenor), Leeds Festival Chorus, chorus master Donald Hunt, Royal Liverpool Philharmonic Orchestra/Sir Charles Groves

Tuesday 21st October: Programme No.7 (Final)

Three scenes for orchestra, op.45 (1966)
O Longs Desirs: Five Songs for soprano and orchestra op.39 (1963) 

Symphony No. 5 for organ and orchestra, op.74 (1975) 

Jennifer Bate (organ), Eiddwen Harrhy (soprano), BBC Northern Symphony Orchestra/Christopher Adey.

Peter Racine Fricker: Rondo Scherzoso (1947)

A few days ago, I posted about Peter Racine Fricker’s Comedy Overture. This entertaining work has been included on the new Lyrita CD (REAM.2136) featuring the composer’s Symphonies 1-4.  Also introduced is the early Rondo Scherzoso which was written in 1947, when Fricker was still studying with Mátyás Seiber.

Paul Conway explains in the CD’s liner notes that, before tackling his Symphony No.1, Fricker wrote two symphonic movements as a kind of preparatory exercise: An ‘Adagio’ for orchestra (1946) and the present Rondo Scherzoso.  Both works remain in manuscript. They were first performed at a Committee for the Promotion of New Music concert on 1 October 1948. The Philharmonia Orchestra was conducted by Mosco Carner. I was unable to locate any contemporary reviews of the event.

Fricker had a reputation of being somewhat of a radical. His music moved away from the predominant style of the period, exemplified by Ralph Vaughan Williams and absorbed the ethos of Bartok, Stravinsky and Schoenberg.  Nevertheless, in his first 20 or so years (1943-66) as a professional composer, he often utilised traditional forms.

The Rondo Scherzoso is a vibrant, extrovert work that exploits Fricker’s appreciation of contrapuntal devices, such as canon, fugato and imitation, as well as his predilection towards the ‘inventive use’ of the Rondo form. For example, each movement of the Symphony No.2 consists of three highly-developed and sophisticated rondos.  

The rondo form is usually based on a principal theme played several times and interspersed with two or more contrasting episodes. In the present work the dynamic and jaunty ‘refrain’ is followed by two episodes of reflective music. The work concludes with a ‘martial’ version of the principal theme.  

In his discussion of the Rondo, Paul Conway has highlighted ‘the wind solos and judicious use of modest percussion [that] proves…the composer’s subtle and effective approach to orchestration was present at the very outset of his professional career.’  

On the Lyrita double CD, the Rondo Scherzoso is played by the BBC Northern Symphony Orchestra conducted by Bryden Thomson. It was broadcast on 12 September 1980 on BBC Radio Three as a part of the Fricker’s 60^th birthday celebrations. Other works in this studio concert included the Violin Concerto No.1 (1949/40) and the Symphony No.1 (1949/50).

Nick Bernard, reviewing the Lyrita CD for MusicWeb International (October 2017) was not convinced by the Rondo. He writes: ‘The discs are logically laid out in chronological order, with the early 1948 Rondo Scherzoso opening disc one, followed by the first two symphonies…The only possible problem with this layout is that the Rondo is by some way the least impressive piece in the set, and Symphony No. 1 the least impressive of the four symphonies offered here.’

I disagree with him about the Rondo being ‘the least impressive piece...’ I find that it is a vivacious, sometimes thought-provoking and well-constructed work that could convincingly open the proceedings at any orchestral concert. It makes a great and approachable introduction to Peter Racine Fricker’s music. The work displays much humour that matches roughly contemporary music by (for example) Malcolm Arnold, even if it is more astringent. Finally, it would be encouraging if some orchestra could dust down the manuscripts of the 1946 ‘Adagio’ companion piece and the Symphonietta for Orchestra (1946/1947) and give them an airing (and possible recording). It would mean that listeners would have the cluster of early orchestral works that surrounded the impressive First Symphony. 

Peter Racine Fricker: String Quartets on Naxos

I immediately began my exploration of this stunning new CD of music by Peter Racine Fricker, with the Adagio and Scherzo. These two pieces were composed during the summer of 1943 when the composer was in the Royal Air Force, working as a radio operator. During that year Fricker married (Audrey) Helen Clench before being posted to India as an Intelligence Officer, having recently participated in an ‘intensive course’ learning Japanese.

Interestingly, the Adagio and Scherzo are not listed in the University of California, Santa Barbara, California catalogue of the composer’s music. Neither do they appear in the current Grove’s list of works.

The liner notes, by Christopher Husted, suggest that they may be the central movements of a projected string quartet (String Quartet No.0!). At any rate, these two pieces ‘remain the most thoroughly developed work from this time.’ Fricker’s ‘official Op.1’ are the Three Preludes for piano composed between 1941-4.

The Adagio and Scherzo are immediately approachable and reflect the modernism of the day with just a hint of something undefinably ‘English’ in mood. The sound world of the two movements alerts the listener to the foundation of Fricker’s style. He was not an adherent to the hegemony of Ralph Vaughan Williams or William Walton. His mentors were Berg, Hindemith, Bartok and Schoenberg. The basic premise of his style was a free use of atonality rather than rigid serialism. Typically, this would be his compositional style for much of his career.

It is not necessary to give a detailed biography of the composer in this review, nevertheless a few notes about his career may be of interest. Peter Racine Fricker was born in London on 5 September 1920. He was descended from the French playwright Jean Racine. Fricker studied at St Paul’s School and then the Royal College of Music (RCM) where his tutors were R.O. Morris for composition and Ernest Bullock for organ. He had further lessons with the Hungarian emigré composer Mátyás Seiber at Morley College. As noted above, he completed five years of war service between 1941-46.

Two early successes were his Wind Quintet, op 5 (1947) and the Symphony No.1, op.9 (1949). The latter gained the Koussevitzky award and was premiered at the 1950 Cheltenham Festival.  The following year Fricker won the Art’s Council Festival of Britain prize for his Violin Concerto. He accepted the headship of music at Morley College (1952-64) and later Professor of Music (1955-64) at the RCM.

In 1964, Fricker was visiting professor of music at the University of California, Santa Barbara, and in 1970 he became Chair of the Music Department there. Peter Racine Fricker died in Santa Barbara on 1 February 1990.

Fricker’s compositions include five symphonies, several concertos, numerous chamber music pieces and various piano and organ works as well as the major choral work The Vision of Judgement, recently released on Lyrita (REAM.1124)

For my review of Fricker’s String Quartets, I rely heavily on the excellent liner notes by Christopher Husted. Little has been written about the composer and his music: an ‘official’ biography is a desideratum for listeners and students of 20^th century British music.

There seems little doubt that Michael Tippett’s corpus of string quartets inspired Fricker. Tippett had composed his second and third essays in this form during the war years whilst working at Morley College. He had extensively revised the First Quartet in 1943 (originally composed in 1935). At the same time, Fricker’s teacher Mátyás Seiber had published a major study of the six Bartok quartets, and also began work on his own Quartetto Lirico during 1948. As Husted suggests, ‘These alone would pose example enough to any young composer; that the quartet was a traditional medium for speculation, experiment, and demonstration of skill could only have made it more attractive.’

Unmentioned in the liner notes is another source of inspiration for the String Quartet No.1: Francis Routh (Contemporary British Music, 1972) explains that it ‘resulted from sketches he made after seeing an exhibition in Battersea Park of the work of Henry Moore.’

Work on the Quartet No.1 began in 1948, and the completed work was submitted for the Edwin Evans Prize. The competition was won by Elizabeth Maconchy’s String Quartet No.5 (1948): Fricker was given an honourable mention. Fricker’s quartet was premiered on 6 September 1949 at the Salle Erard on Great Marlborough Street, London.

The Quartet is composed in a single movement, but incorporating elements of the less traditional slow-fast-slow design. The harmonic language seems to hover between tonality and atonality.

The Times (9 June 1953) made clear that this was Fricker’s first work ‘in this medium that made his creative qualities fully clear, proclaiming him something more than a promising and talented, but possibly flash-in-the-pan composer.’ Alan Frank was correct when he insisted that this Quartet ‘showed purpose, consistency of style, and skill in exposing its ideas.’ The String Quartet No.1 was dedicated to Mátyás Seiber

The String Quartet No.2 was written for the Amadeus Quartet during 1953. This work is less austere than the previous example. The music is simultaneously lyrical and dramatic, and exhibits considerable intensity. As the Times (op. cit.) reviewer declared, this work ‘clarifies the composer’s powers as a melodist…’

The quartet is written in three movements, two slow-ish outer movements with a central scherzo. The opening ‘inquieto allegro’ is propelled by a vigorous subject but also encompassing much reflective material.  Francis Routh (1972) notes that ‘the development section is unusual in that an independent subject appears as a fugue…and combines later with the material of the exposition.’ The sprightly Scherzo is a kind of ‘ghostly dance.’ The final movement is impressive: this is an adagio that builds up to a penetrating climax, and includes references to the opening movement. The Quartet closes quietly. Although presented at the end of piece, this is the heart of the work. The liner notes point out that this quartet ‘remains within friendly distance of tonal reference, with an agenda that pits E flat against F sharp.’  The work is defined by its craftsmanship: formally, the ‘technical fluency’ of the instrumentation and the exposition of the musical material.

Peter Racine Fricker’s String Quartet No. 2 was recorded in 1963 by the Amadeus Quartet and was issued on the Argo label (ZRG5372 & RG5372). It was coupled with Benjamin Britten’s String Quartet No. 2. I have not heard this recording.

It was to be more than 23 years before Fricker turned to this genre again. By this time, he was living and working in California. Fricker came to believe that the medium of the string quartet was dead. The appearance of the American composer Elliot Carter’s masterly String Quartet No.3 (1971) changed his view. Fricker’s own Quartet No.3 is dedicated to the American.  The liner notes are keen to point out this present work is not an ‘emulation’ or ‘pastiche’ of Carter, but develops Fricker’s own brand of ‘serial strategies.’ The work is in five movements of various lengths. The core of the work is the central ‘adagio.’ This is ‘flanked’ by two fast movements which themselves are ‘flanked’ by two considerable ‘prestos.’ The finale is a set of eight variations with an impulsive coda bringing the quartet to an exciting conclusion.

The work remained un-played until the 1984 Cheltenham Festival when it was premiered by the Chilingirian Quartet on 19th July.

The Villiers Quartet give a superb performance of all these works: Fricker could not have wished for a better advocate of his corpus of String Quartets. The liner notes are first-rate, and provide sufficient information for an informed appreciation of this music.

During the early 1950s Fricker was regarded by many critics and listeners as something of an enfant terrible. On the other hand, he was deemed to be one of the most important rising stars of his generation. Other names at that time included Humphrey Searle, Elisabeth Lutyens and Iain Hamilton. All these composers have (sadly) slipped below the horizon, having been caught between the conservatism of Vaughan Williams and the avant-garde which developed in the nineteen fifties and included Peter Maxwell Davies, Harrison Birtwistle and Alexander Goehr.

In Fricker’s case his removal to California did not help him with the promotion of his music in the United Kingdom.

In recent years, some steps have been made towards reappraising Fricker’s (and the others) music, but it seems that there is a long way to go before their names are (re)established in the canons of British Music. The present disc, as well as the recent Lyrita edition noted above, is a positive start in that rehabilitation. 

Track Listing:

Peter Racine FRICKER (1920-1990)

String Quartet No.1, op.8 (1948-49)

String Quartet No.2, op.20 (1952-53)

String Quartet No.3, (1976)

Adagio and Scherzo (1943)

Villiers Quartet: James Dickenson (violin), Tamaki Higashi (violin), Carmen Flores (viola), Nicholas Stringfellow (cello)

NAXOS 8.571374 

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

Peter Racine Fricker: Wind Quintet, Op.5: A Forgotten Delight Part II

Recordings

Fricker’s Wind Quintet, op.5 has been recorded commercially once. In 1962, the London Wind Quintet issued an LP (Argo ZRG 5326) of wind quintets which included Fricker’s. Other works on this album were Malcolm Arnold’s irrepressible Three Shanties for wind quintet (1952), Mátyás Seiber’s Permutazioni a cinque (1958) and Roberto Gerhard’s Wind Quintet (1928).  The performers were Gareth Morris, flute; Sidney Sutcliffe, oboe; Bernard Walton, clarinet; Gwydion Brooke, bassoon and Alan Civil, horn.  The album was recorded in association with The British Council.

Malcolm MacDonald’s review in The Gramophone (February 1963) suggested that the two major works on this album were the Gerhard and the Fricker. Of the latter, he writes ‘… [This] is a four movement work which extracts extraordinarily effective music from the five players. Much of it is extremely vital, and rather less astringent in idiom that some of Fricker’s later pieces.’ He reiterates the point that this was the first of the composer’s works to make ‘any substantial headway, winning the Clements Memorial Chamber Music Prize in 1947,’ Finally MacDonald adds wittily that he was ‘jolly glad [the quintet] was not submitted the year before, when a trio of my own won the prize.’  This was a Trio for piano, violin and clarinet: it seems to have sunk without trace.

Dennis Brain made a live recording of the Fricker Wind Quintet at the Freemason’s Hall, Edinburgh on 24 August 1957. Other works at the recital included Beethoven’s Quintet for Piano and Wind Instruments in E-flat major, op. 16, Paul Dukas’ Villanelle for horn and piano, Malipiero’s Dialogue No. 4 for wind quintet (1956). The original tape of the Fricker Quintet was remastered and issued on the BBC Legends label in 2006.

Marc Mandel reviewing this CD in Fanfare (September 2007) noted that the booklet described this recording as the ‘definitive performance’. He considers the work as ‘well-crafted’ but ‘thanklessly academic and cheerless.’ Mandel also reminds the reader that the recital was held just a week before Dennis Brain was killed in a late-night car crash whilst travelling home from the Edinburgh Festival (1 September 1957). He was aged just 36.

The Brain Wind Quintet version of the present Quintet is still available on CD from record dealers, although I understand that it has been deleted from the catalogues.

Conclusion

Peter Racine Fricker’s Wind Quintet, op.5 would make an ideal piece for performers to play in concert or to record. It has an impressive balance between seriousness and wit. The ethos of the music represents what was one particular strand of musical thought in the post-war years. Others were represented by the ‘serialists’ like Humphry Searle and Elisabeth Lutyens, the traditionalists including as Alun Hoddinott and Kenneth Leighton, the conservatives like Edmund Rubbra and Robert Simpson and the disciples of Ralph Vaughan Williams. It was composed nearly a decade before the rise of the avant-garde led by the Manchester Group.

The Wind Quintet has considerable musical substance and does not present the listener with great challenges of extreme dissonance or long-windedness.

Bibliography:

Gamble, Stephen & Lynch, William, Dennis Brain: A Life in Music, (Denton, Texas, University of North Texas Press, 2011)

Pettitt, Stephen, Dennis Brain: A Biography (London, Robert Hale, 1989)

The files of The Times, The Musical Times, Musical Opinion, The Chesterian, etc.

Discography:

London Wind Quintet, (includes quintets by Seiber, Arnold and Gerhard) (Argo ZRG 5326) 1962, LP

Brain Wind Quintet on BBC Legends Mono BBCL 4192-2 2006 (recorded 24 August 1957)

Peter Racine Fricker: Wind Quintet, Op.5: A Forgotten Delight Part I

Introduction

Most critics and commentators agree that Peter Racine Fricker’s Wind Quintet, op.5 composed in 1947 was his first composition to make a major impact on the musical world. This work was taken up by the legendary Dennis Brain who was a boyhood friend of the composer at St. Paul’s School, London. Francis Routh has suggested that this ‘fortuitous fact’ allowed the quintet to gain ‘wider acceptance than would otherwise have been the case.’ In spite of this caveat, I believe this is a work worthy of revival and should have a secure place in the repertoire.

Fricker’s recent compositions had included the Sonata for Organ, op.3 (1947) which was not heard until a recital given by Philip Dore on 9 June 1951 at All Souls’, Langham Place.  The Two Madrigals, op.4 were settings of Walter de la Mare’ verse. Around this period he wrote a Symphonietta for orchestra (1946-7) which was (seemingly) never performed and has remained in manuscript.  Earlier works included Three Preludes for piano, op.1 (1943-5) and Four Fughettas for Two Pianos, op.2 (1946).

Genesis

The story of the work’s genesis is given in Gamble and Lynch (2011). The Brain Wind Quintet flautist, Gareth Morris gave a recorded interview to Gamble (1 March 2006):

“It’s got a terrific badinerie in it. I used to play the Badinerie of Bach [the final movement of the B minor suite for flute and strings, BWV 1067] an awful lot. He [Fricker] said to me, ‘Would you like another badinerie for the Wind Quintet?’ I said, ‘That would be nice, yes.’ Some badinerie, isn’t it? A good piece. We played it quite often.”

A ‘badinerie’ literally means ‘teasing, playfulness and frivolity.’ It is sometimes given as ‘badinage’ by 18^th century French and German composers. This was used for light, playful pieces often in 2/4 time. ‘Modern’ examples include those by Cyril Scott and John Foulds.

After the Wind Quintet was completed during June 1947, Fricker sent the score to Dennis Brain for his comments.  Some months later, the composer was astonished to open his copy of the Radio Times and discover that the work was scheduled for broadcast.  It was the first time that Fricker had a work performed on the BBC. (Pettit, 1989)

Fricker’s Quintet won the 1947 Alfred J. Clements Prize of £20 (about £500 at 2016 prices). The adjudicators of this competition were Alan Bush, Howard Ferguson and Richard H. Walthew.  Clements (1858-1938) was organiser and secretary of the weekly South Place Sunday Concerts between 1887 and 1938.  After his death, a prize was established in his name.  .

Performance

The premiere of the Quintet was on 3 January 1949 during a BBC Third Programme broadcast. The recital was recorded at Studio 3, Maida Vale and featured the Brain Wind Quintet: Gareth Morris (flute), Leonard Brain (oboe), Stephen Waters (clarinet), Dennis Brain (horn) and Thomas Wightman (bassoon). Jacques Ibert’s Trois pièces brèves (1930) were also presented.

The first public performance of Fricker’s Quintet was also by the Brain Wind Quintet during a South Place Concert at the Conway Hall on 27 February 1949. Other works heard at this premiere included Beethoven’s Quintet, op.16 and Mozart’s Divertimento, K.270 for two oboes, horn and bassoon arranged for quintet by Anthony Baines. The Quintet were joined by Mr. George Malcolm when the piano was required. This was immediately followed by another recital at the Chelsea Town Hall at one of Boyd Neel’s Monday Night Concerts. Dennis Brain was partnered on this occasion by members of the Boyd Neel Orchestra.  

The Times (1 March 1949) reviewer considered that ‘there was evidence of serious thought behind all its four movements, with some skilful counterpoint in the canonic variations of the third [movement] and some imaginative instrumentation in the scherzo-like Badinerie and Musette preceding it.’

The Brian Wind Quintet would play Fricker’s Quintet many times over the following decade. It was featured at the 1951 West Berlin Festival and was heard at the Venice Festival on 12 September 1956.

Analysis

Peter Racine Fricker, Wind Quintet, op.5

I Moderato

II Badinerie: Vivace. Musette: Moderato e sostenuto

III Canonic Variations: Tema: Poco allegro. Canon I (at 4th): Adagio.

Canon II (at 5th): Poco andante. Canon III (at 2nd): Poco scherz. Canon IV

(at 6th): Vivo. Canon V (at 7th): Adagio

IV Finale: Vivo

The opening movement is divided into two parts: a ‘moderato’ written in 4/4 time is followed by an ‘allegro moderato’ in 3/4 time at bar 20.  The main theme of this movement is stated in the opening two bars.

Peter Evans, in the sleeve notes for the Argo recording of this Quintet, observes a gift for ‘delicate textures’ especially in the ‘fluttering second subject [of the ‘allegro moderato’] or the ‘badinerie.’’  

The second movement is presented complete with ‘conventional’ repeats followed by a musette (which does not really have the expected drone sound of the medieval bagpipe). The movement is concluded with a reprise of the ‘badinerie’.

The technicality of the five canonic variations and the fugal opening of the finale give some credence to the charge of ‘academicism’ often applied to this work. However, to any listener not equipped with the miniature score, Fricker’s contrpuntalism seems more like a partnership or dialogue between instruments rather than a dry as dust procedure.  It really does not occur to the listener to worry about the theoretical nature of canon at the 4^th, 5^th, 2^nd, 6^th or 7^th: it all sounds natural and not contrived. 

The finale is written mainly in 12/8 time which is sub-divided into 3/8, 3/4 and 3/8, thus presenting considerable rhythmical vitality. The opening theme is reprised, giving a strong sense of unity to the work. 

The Wind Quintet exhibits the influence of Paul Hindemith and Béla Bartok without descending into parody.

Publication

The score of the Wind Quintet, op.5 was published by Schott & Co. Ltd., in 1951.  It was reviewed in Musical Opinion (September 1951) ‘This composer lacks nothing in technical equipment and his inventive powers are of a very high order. It is only in warmth of feeling, - a much despised commodity with our younger composers, - that he seems to be lacking.’  This is an estimation that seems to have lost its force when the work is heard 67 years later.  Certainly there is an acerbic feel to some of this music, however there are moments when affability seems to be the dominant emotion. The reviewer concludes by suggesting that ‘…all [movements] demand playing of utmost neatness in detail and balance.’  

The Chesterian (April 1952) usefully suggested that the score would have been better served if it had shown the actual sound of the wind instruments rather that their transpositions. Colin Mason writes there that the ‘very independent part-writing shows as full realisation of the different capabilities of the five instruments, and the constantly changing distribution of the parts prevents monotony of timbre.’ Interestingly he suggests that Fricker has not attempted to ‘sharply [differentiate] instrumental characterisation’ or further the ‘pursuit of harmonic and instrumental sonorities for their own sake.’ 

To be continued...

An Artist Looks at Churches: John Piper and Peter Racine Fricker

As the advertising blurb for this short film points out there are more than 20,000 (Anglican) parish churches in England. It advocates that even on the shortest of journeys, whether by foot, cycle, car or train, the traveller could expect to pass at least one or two of them.  An Artist Looks at Churches is presented by one of Britain’s greatest 20^th century artists, John Piper (1903-92), who has selected a number of buildings given in roughly chronological order. He visits and describes them during this short British Transport Film made in 1959.

Nine churches, built over a period nine centuries are explored (see list at end of post).  Piper begins with the Church of St. Mary & St. David, Kilpeck, Herefordshire constructed around 1140 and concludes with St. Bernadette's RC Church, Lancaster, Lancashire which was completed in 1958. At the time of the film it was brand new.  At this latter church, the attractive free-standing tower has since been demolished.

During his investigations, Piper ‘reveals the beauty and riches of architecture, decoration, carving and sculpture aged in mellow stone and weathered glass; the art of the wood carver and the sculptor, and in doing so finds that through the centuries the portrayal of the human face and figure has been an unfailing source of inspiration to all who have brought their talents to the service of the Church.’

The music for this film was composed by Peter Racine Fricker (1920-1990) during 1958 and was recorded at the Beaconsfield Studios on May 6, 1959. The Sinfonia of London was conducted by the composer. The score features flute, oboe, trumpet, harp, 6 violins, 4 violas, 3 cellos, double bass. I understand that it remains in manuscript.

Other works by Fricker at this time included his Comedy Overture, op.32 (1958), the Toccata for piano and orchestra, op.33 (1959) and the Pastorale for organ (1959).

The film opens with no music, just birdsong and Piper’s footsteps: however after a few moments the chimes of various churches begin to ring. This is the cue for Fricker to introduce some bell-like figurations with a rough-hewn tune supported by dissonant harmonies.  Sometimes, as the score develops the music becomes a little more contemplative, with hints of Ralph Vaughan Williams in his more acerbic mood. This is no pastoral fantasy, but does often have an intangible English feel to it.  Fricker uses the string cantilena as one of his devices throughout this work, although this is hardly modal, is more chromatic, and does not echo RVWs pastoral symphony. If anything, it is more like the second subject of the opening movement of the Symphony No.4 in F minor. Sometimes, as at the section when Piper is reconnoitring Shottisbrooke, he pulls a hummable tune. Views of some fields in the landscape are accompanied by music reminiscent of Aaron Copland’s wide open prairies.

The mood changes, as John Piper explores East Budleigh Church (All Saints), in Devon where Fricker matches the grotesque, but often charming, carvings with rustic dance music tinged with something nautical or shanty-like.  His style alters once again when providing the accompaniment to the visit to St. Mary's Church, Lydiard Tregoze, near Swindon in Wiltshire. Here he seems to recapture the mood of 1950s romantic films, but only for a very short time. This is pushed to one side by a passage of ‘splashy arpeggios’ underlining the effigy of Viscount Bolinbroke and his pages.

As Piper begins to examine churches from the nineteenth century Gothic Revival, Fricker turns his hand to some reflective woodwind writing which is almost idyllic in its effect.  A brief visit to Sir Ninian Comper’s beautiful St. Phillips Church, Cosham, Portsmouth, Hampshire is accompanied by brass and strings.

The music that complements images of Graham Sutherland’s ‘Crucifixion’, at St. Matthew's Church, Northampton, features a harsh oboe melody. Finally, as the film concludes with a study of Henry Moore’s early sculpture Madonna and Child, Fricker uses a gorgeous string quartet passage before reprising the bell-like figurations of opening. The film concludes as it began with bells and birdsong.

An Artist Looks at Churches was reviewed in Monthly Film Bulletin (April 1961):

A documentary which looks briefly at church architecture in England from the middle Ages to the present day. A commentary, written and spoken by John Piper, points out the changes and developments which took place between each period, and gives something of the background which led to them.

This is a good subject, but unfortunately marred by having too little time to say anything significant. The rapid progression from one style of architecture to another in the film gives a good idea of development as a whole - from eighteenth century classical grace, for example, to the nineteenth century preoccupation with the Gothic as a sop to its own materialism. But there is only room for one church to represent each period, and often only for one or two features to represent each church. Consequently one comes away with an impression of certain trends (if, that is to say, so few examples can be truly representative) but also with a feeling of superficiality. John Piper's rather poetic, well-delivered commentary helps to mitigate this failing, as does some very sensitive photography of these works of art in their English settings.

The churches featured in the film include:-

Opening/Closing Credits: Ellesborough, Saints Peter and Paul

Church of St. Mary & St. David, Kilpeck, Herefordshire

St. Leonards Church, Grateley, Hampshire

Blessed Virgin Mary's Church, Isle Abbotts, Somerset

St. John the Baptist's Church, Shottesbrooke, Berkshire

East Budleigh Church (All Saints), Devon

St. Mary's Church, Lydiard Tregoze, Wiltshire

Parish Church of St. Peter, Gayhurst, Buckinghamshire

(Unnamed Church)

St. Phillips Church, Cosham, Portsmouth, Hampshire

St. Bernadette's RC Church, Lancaster, Lancashire

St. Matthew's Church, Northampton, Northamptonshire

'An Artist Looks at Churches' is available on The British Transport Film Collection Volume 5.

Racine Fricker's Prelude, Elegy and Finale for strings: Three reviews.

In a review in The Spectator (19 January 1951) of the London Classical Orchestra’s concert (16 January 1951) conducted by Trevor Harvey at Chelsea Town Hall noted that: ‘Racine Fricker's Prelude, Elegy and Finale for strings is serious and impassioned, impressive at a first hearing, but promising more to a closer acquaintance like most of this composer's work. It is not common to find an artist in any medium so clear in his own mind about what he wishes to say or so direct and economical in the way he says it. There was more strength than sweetness in these three movements; but there was no display of forcefulness. None of that frantic posturing or cult of violence for its own sake which characterises the professional ‘strong men’ of music.’

Other works at this concert included Antony Hopkins Festival Overture, Mozart’s Piano concerto No.26 in D major ‘Coronation’ K.537 and an unspecified Haydn Symphony.

The same concert was reviewed in the Musical Times (April 1951) which noted that ‘Racine Fricker's Prelude, Elegy and Finale for strings, previously played at Darmstadt and on the wireless... Intensely thoughtful and poised music, which still finds time for beautiful and intriguing sonorities, it still has not the tremendous impact of this composer's symphony, or the friendly lyricism of the violin concerto.’

Edward Greenfield, writing in August 1965 edition of The Gramophone declared that ‘The item which endears the record to me most of all is Peter Racine Fricker’s Prelude, Elegy and Finale, a work which at once shows him at his most Hindemithian [1] and most passionate (not exactly a predictable combination). The prelude is brief but powerful and quickly leads to the emotional hear of the work, a magnificent Elegy which should be compulsory listening for anyone (progressive or reactionary) who has ever tended to dismiss Fricker. The finale brings a march which includes a vigorous fugato which may nowadays seem old hat but which is most effective none the less.’

Notes:

[1] ‘Hindemithian’ can imply strong contrapuntal lines and rather neo-classical in style. Percy Young has well written that Paul Hindemith was ‘immensely fluent, both are liable to appeal to the head rather than the heart (or to the eye rather than the ear), and… incline to circumlocution.’ There is a perception of Hindemith (and his followers) of writing ‘dry’ music lacking un emotion and grace.

There is a YouTube video of the Prelude, Elegy and Finale played by the Little Orchestra of London under the baton of Leslie Jones.