Edward Cowie: Rock Music

This is not another rock album – progressive, hard, or punk: it is about rocks. Now this gives me a problem. I can decline second-declension Latin nouns and muddle through the history of the 1745 Jacobite Rebellion and the Industrial Revolution, but geology? Absolutely nothing. I’ve climbed mountains without once wondering what they are made of. Yet this lack of technical knowledge should not put the listener off this remarkable disc, if (like me) they are clueless about, or indifferent to, that noble science.

I am beholden to the liner notes, the advertising brief, and private correspondence with Edward Cowie in these elucidations.

The initial point to make in coming to terms with these three piano sonatas is that they are “both an independent exploration and part of a greater whole, mirroring the classical sonata cycle in an ambitious and deeply evocative form.” This means each work can be heard independently, or they can be presented as a cycle, in the order given on the track listing, as three “classical” movements. I suggest that they be heard individually, at first. However, in the recital room, a complete performance (lasting 85 minutes) would be the ideal way of presenting these Sonatas. It will certainly tax the stamina of both pianist and attendee.

It is important to consider Cowie’s thought processes for each sonata, without allowing it to cause confusion and detract from the listening experience. He has often used natural phenomenon as an inspiration for his art. He has studied ornithology, incorporating birdsong into his pieces. His scientific background training as a physicist also influences his art, leading to essays inspired by particle physics and environmental phenomena. Additionally, Cowie is an accomplished painter and draughtsman, using visual art as a preparatory tool, often sketching landscapes and natural forms as a mode of pre-composition. His interdisciplinary approach blends music, science, and visual art into a unique creative process.

Edward Cowie's Rock Music (2023) is a remarkable piano composition that transcends traditional musical themes, drawing its inspiration directly from the fundamental physical processes that shape our planet. This ambitious structure, presented as a sequence of three sonatas, serves as a meditation on geology, translating the forces and transformations of the Earth into a compelling auditory experience.

For those less familiar with geological terms, here are the core definitions that underpin Cowie's work:

1. Igneous: Refers to rock formed through the cooling and solidification of molten magma (below the Earth's surface) or lava (on the surface).
2. Sedimentary: Describes layered rock formed over time from compressed mineral and organic material.
3. Metamorphic: Denotes rock that has been transformed by intense heat, pressure, or mineral changes deep within the Earth's crust.

With these definitions in mind, the three movements (or sonatas) of Rock Music vividly portray their geological counterparts. With the help of the liner notes, some brief descriptions will be of interest:

Sonata No.1 Igneous

This lengthy sonata explodes with fiery, wild energy, just like a volcanic eruption. Its rhythms are unstable, surging and then briefly pausing, showing the power of lava and volcanoes. Very much stop/start.

Sonata No.2 Sedimentary

This unfolds slowly and patiently, like the gradual layering of rock over vast aeons. It moves between quiet, gentle sections and more dramatic periods, revealing nature's slow but powerful changes.

Sonata No.3 Metamorphic

The final sonata is the most expansive and complex. It takes themes from the earlier movements and transforms them with a series of twelve “variations” showing how intense heat and pressure reshape rock. This creates a powerful, unified ending that reflects concentrated changes in nature and music.

Two points. I asked Edward Cowie if parts of this massive trilogy relied on improvisation or aleatory procedures. He assured me that every note was written out “painstakingly.” A huge achievement. Secondly, the listener will wonder what the Sonatas sound like. I suggest that there are hat tips to Beethoven, Ravel, Messiaen, and Sorabji. And just occasionally, unless I am mistaken, there is a nod towards the rock music of my (and his) generation.

The liner notes were devised by Cowie and give a good and fathomable introduction to this intricate cycle. In addition, he provides an Afterword which explains his reaction to hearing the recording. The final part of the booklet features a Note on the Recording by Roderick Chadwick. These include a discussion with Cowie, which can be a bit technical and prolix at times. There are biographical details of the composer and performer. The beautiful CD cover is Rock Music by Edward’s wife, Heather Cowie.

The sound recording is second to none. Every nuance of sound is clear and bright, from the most subtle chord to the thumping explosions and extended piano techniques. Chadwick’s rare brilliance, sensitivity, and transcendent genius is to the fore throughout. Although the listener has nothing to compare the performance with, the sheer virtuosity of these three sonatas is palpable. There is beauty here, as well as passion, energy, and ferocity.

Track Listing:
Edward Cowie (b.1943)
Sonata No.1 Igneous (2023)
Sonata No.2 Sedimentary (2023)
Sonata No.3 Metamorphic (2023)
Roderick Chadwick (piano)
rec. 30 September – 1 October 2023, Ayriel Studios, Westerdale, Whitby, North Riding.
Métier MEX 77123

Jack Beaver: Yacht Race

Travelling through the Solent during Cowes week, the traveller may see yachts racing during one of the United Kingdom’s oldest and most prestigious sailing events, dating back to 1826. Held annually in early August, it attracts elite sailors and enthusiasts worldwide. According to Wiki there are some forty daily sailing races, around five hundred boats, and 2500 competitors ranging from Olympic and world-class professionals to weekend sailors. Yacht Race celebrates this event and others like it in this evocative work.

Jack Beaver (1900–1963) was a British composer known for his prolific work in film music and contribution to “light music.” He studied at the Royal Academy of Music and later contributed to numerous film scores, often uncredited, during the 1930s and 1940s. His compositions include music for The 39 Steps (1935) and The Case of the Frightened Lady (1940), where he pioneered the "Denham Concerto" style. Beaver wrote much library music, with pieces like Holiday Camp March, Mannequin, and Cavalcade of Youth gaining recognition.

Yacht Race, is a brisk, nautical-themed orchestral piece composed for the Chappell Recorded Music Library. It captures the exhilarating energy of sailing. Characterized by its lively rhythms and tempo as well as a bright orchestration, the piece conveys movement and excitement, fitting its title perfectly. Sometimes described as “light, bright, and breezy,” it is included in compilations of light orchestral music and has featured in films and television, where its upbeat style complements scenes of racing, adventure, and outdoor activity. It remains a recognisable example of Beaver’s ability to craft evocative music that enhances visual storytelling. Its cinematic energy made it a popular choice for mid-century newsreels and documentaries, capturing motion and momentum with vivid musical flair which evokes the thrill of competitive sailing and the grandeur of open waters.

Jack Beaver’s Yacht Race can be heard on YouTube, here. It does not state who is performing it but may be the Queen's Hall Light Orchestra under Charles Williams. It would appear to be a part of the Chappell Music Library Collection.

Segerstam in Aarhus

There is no doubt that Leif Segerstam (1944-2024) is a larger-than-life character. He himself mused on the notion that he was a “legend” because he looked like Santa Claus, or was it, Johannes Brahms. Maybe it was his vast compositional output, including more than 370 symphonies that led to his “near-mythical status.” The reality is that he was a prolific Finnish conductor, composer, violinist, violist, and pianist. Over his life he held chief conductor positions with numerous orchestras, including the Helsinki Philharmonic, Danish National Radio Symphony, and the Turku Philharmonic Orchestras. Segerstam’s career embraced guest appearances around the world. His extensive discography includes complete cycles of the Mahler and Sibelius symphonies.

The present four-disc collection celebrates Segerstam’s associations with the Aarhus Symphony Orchestra and offers the final studio recordings that he made before his death in October 2024.

The first disc gives a commanding performance of Anton Bruckner’s Symphony No.7 in E Major dating from 1881-83. After the well-known No.4 Romantic, it is the best known of Bruckner’s eleven contributions to the genre. (The two early examples are not numbered.) It is certainly the most approachable to anyone wishing to get to know this symphonic cycle. The opening movement came to him in a dream: it presents a solemn mood. The Adagio was a tribute to the dying Richard Wagner, whilst the dramatic Scherzo is not as jolly as usual for this form. The finale is sometimes “hymn like” leading to a triumphant conclusion. The Symphony has been subjected to many revisions. Segerstam has used the Nowak edition published in 1954, to give a superbly balanced, enthusiastic, and transcendent performance of this great symphony.

I was curious to see what Segerstam’s take was on Bruckner’s massive Symphony No.4 in E flat Major (Romantic). Often said to be his impression of nature in general and the forest in particular, it remains absolute music without a programme. The symphony opens with a dramatic horn call, which dominates the entire movement. This defines its mood of pastoralism and heroic derring-do. The Andante calls for a consideration of “song, prayer and serenade.” There are some tremendous climaxes. The notion of hunting dominates the vivid scherzo. The long finale sums up all that has gone before, including a frightening storm passage and a triumphant conclusion. For me, Segerstam has created a magical account, where he allows the pace of the Symphony to develop in a natural manner. He does not rush too much or linger unnecessarily. The climaxes are perfectly judged. It is heard here in the 1878/1880 version.

I was disappointed that Leif Segerstam did not record the complete series of Bedřich Smetana’s tone poems from Má vlast. The reason was (presumably) to allow the inclusion in the boxed set of something by a Scandinavian composer. Three of the six tone poems, written between 1874 and 1878 have been given splendid performances here. The entire cycle presents aspects of Czech history, landscapes, and folklore. The most famous, Vltava (The Moldau), depicts the river’s journey through Bohemia. I was introduced to this piece at Music Appreciation class at grammar school: it has remained a favourite. Segerstam gives an imaginative journey through the Bohemian landscape, pointing up the water features from gentle ripples to rushing torrents and its eventual confluence with the Elbe to the north of Prague. The first tone poem, a musical depiction of Vyšehrad - the historic seat of Czech kings - unfolds with noble grandeur, evoking ancient legends through cascading melodies and a timeless sense of pride. The third, depicts the warrior and femme fatale, Šárka. It conveys moods of betrayal, vengeance, stormy passion, and “fate’s relentless embrace.”

Rued Langgaard’s Symphony No.5 was begun in 1917. Major revisions and title changes between 1926 and 1931 resulted in the present work, subtitled Steppelands. An aid to appreciating this piece was given in the original programme note: “Out flying, where earth and sky are one; Where nature has no boundary to mark; But where the Steppe stretches as far as wide as endless grief, unbounded." I have not heard this Symphony for many years, but my original thoughts remain. It is like the curate’s egg - good in parts. The liner notes are correct in pointing out Langgaard’s sympathies for the late romantic period. His inspiration was found in the compositions of Wagner, Gade and Tchaikovsky, rather than in 20th century developments. There are impressionistic moments and a few magical bars here and there. The overall impression is of a mosaic of ideas, offering a cinematic view that presents widely contrasting images in an unrelated whole.

The final disc presents a remarkable reading of Beethoven’s Pastoral Symphony (No. 6 in F major, op.68). Unlike his other symphonies, this relies on its programmatic nature depicting scenes from rural life. It is possible to listen to it as absolute music:  Beethoven himself emphasized that it was “more an expression of feeling than painting.” Yet, the subtitles of the movements make it difficult to divorce these thoughts from one’s mind. The key to any performance of this ever-popular work is to bridge the gulf between classical clarity and romantic sensibility, harmonising the considerable contrasts and highlighting the narrative aspects, without descending into over-exaggeration. I feel that Segerstam gets this balance correct.

The extensive liner notes provide a helpful introduction to this music. There are resumes of Leif Segerstam and the Aarhus Symphony Orchestra.

Except for the Smetana these works are rarely on my “playlist.” Listening to the two Bruckner Symphonies will encourage me to hear the full series. And then there is Segerstam’s Mahler cycle to consider…

One commentator suggested that “[Segerstam] has more music in his little finger than many conductors have in their whole body.” Hearing this selection of performances of several major symphonies and tone poems reveals his passion and “feelings of electricity” from end to end.

This boxed set is a brilliant final testimony to Leif Segerstam’s recording career.

Track Listing:
CD1
Anton Bruckner (1824-96)
Symphony No.7 in E Major (1883)
CD2
Anton Bruckner
Symphony No.4 in E flat Major “Romantic” (1880)
CD3
Bedřich Smetana (1824-84)
Má vlast (1874-79): Vyšehrad; Vltava; Šárka
Rued Langgaard (1892-1953)
Symphony No. 5, Steppenatur (Sommersagnsdrama) (1917-31)
CD4
Ludwig van Beethoven (1770-1827)
Symphony No.6 in F major, op.68 (Pastoral Symphony) (1802-08)
Aarhus Symphony Orchestra/Leif Segerstam
rec.2019-2021 Symphonic Hall, Aarhus, Denmark
Danacord DACOCD 941-944

 

Peter Yorke: Holiday Excursion (1950s)

Do you remember the days when holidaymakers at Morecambe (and other places) would take a coach on an excursion to nearby scenic attractions? In the 1960’s Morecambe was still thriving as a popular British seaside resort, and coach excursion trips were an important part of the holiday experience. There would be daily trips to Windemere, Keswick and Coniston in the Lake District. Or a trip to the historic city of Lancaster. Sometimes it was just a pleasant way to explore the picturesque countryside. And then there were the evening mystery tours. In the days before mass motoring, these trips provided an accessible and affordable way for families and individuals to explore the wider Northwest of England.

Peter Yorke (1902–1966) was an influential British composer, arranger, and conductor. A graduate of Trinity College, London, he quickly rose to prominence as an orchestrator, collaborating with leading bandleaders such as Jack Hylton and Louis Levy. 

Yorke's fame soared after World War II, due to his BBC radio programmes such as Sweet Serenade and The Peter Yorke Melody Hour, which regularly featured his original compositions. The Peter Yorke Concert Orchestra gained popularity through these broadcasts. He recorded extensively for Columbia Records, and composed prolifically for production music libraries such as Chappell, Bosworth, and Paxton.

Yorke's music is characterized by sophistication, elegance, warmth, and charming melodies, alongside skilful orchestration. His redolent compositions include pieces such as Cocktails by Candlelight, Blue Mink, Melody of the Stars, and Highdays and Holidays. In the 1950s and 1960’s his music was used in films, radio programmes and even television. Readers of a certain vintage may recall that Yorke composed the theme music Silks and Satins used in the popular ITV soap Emergency Ward Ten (1957-67).

Holiday Excursion is a charming and evocative piece of light music that perfectly captures the spirit of leisurely travel and adventure. It is structured in ternary form, with the opening and closing sections giving a sense of movement, almost becoming a moto perpetuum. The strings are always to the fore, creating a sense of movement and excitement. A slightly more relaxed theme is introduced in the trio section suggesting a romantic dalliance.

The piece would have been ideally suited for use in film, radio, or early television, perfectly accompanying scenes of travel, scenic vistas, or joyful family outings, making it a fitting musical snapshot of its long past era.

Listen to the Telecast Orchestra, conducted by the composer, play Holiday Excursion, on YouTube, here. Enjoy the historic movie images of coach travel. 

Transatlantic: Music for Brass

The disc opens with the premiere recording of William Walton’s Roaring Fanfare for brass and percussion. This was commissioned by Lord Solly Zuckerman to commemorate the opening of the new terrace at London Zoo’s Lion House. It was heard on 3 June 1976 on the arrival of Her Majesty the Queen at a reception marking the 150th anniversary of the Zoological Society. It is noticeably short, lasting less than a minute. Alongside the typical Waltonian regal fanfare sound, it is characterised by short downward glissandos, mimicking the lions’ roar.

John Adam’s China Gates was originally devised for piano in 1977. This post minimalist piece is descriptive of rainfall. I am not sure where “China” comes into the equation, as it bears no connection with his opera, Nixon in China, but “gates” according to Adams’s website “is a term borrowed from electronics, [and] are the moments when the modes abruptly and without warning shift. There is ‘mode’ in this music, but there is no “modulation.”

There is only an extant pencil sketch of Benjamin Britten’s Funeral March, which was commenced in 1938 but subsequently abandoned. In 2022, Bernard Hughes was asked to complete the work for the present ensemble. It was effectively extended from seventeen to forty-six bars. Britten had left a few elliptical notes as to what would have come next. It is a lugubrious piece as befits the title. No suggestion is given as to what was the original intention or occasion of the March.

Another Britten premiere is A Fanfare for June 30th, 1970 (1970). It was composed specially for the farewell gala for Sir David Webster, the then retiring chief executive of the Royal Opera House. According to the liner notes, it has not been published, recorded, or performed in public until this year’s 2025 Aldeburgh Festival when it is due to be played on 29 June. Incorporated into the score are “scraps of nine of Sir David’s favourite opera tunes.” It is a bright piece, with some melancholic touches.

Florence Price’s Octet for brass and piano (1930) was discovered in 2009 in a “cache” of lost scores at her Illinois summer house. From the first the listener is captivated by the none too subtle fusion of European classical music with Americana. The first of three movements communicate her take on a spiritual with nods to George Gershwin. The liner notes suggest hints of Dvorak’s New World Symphony in the slow Andante cantabile; however, the ‘trio’ section is nothing like anything the Bohemian wrote. Blues, galops and jazz infuse the wayward final movement, leaving the listener wanting an encore. The Octet is scored for two trumpets, two horns, two trombones, tuba, and a virtuosic part for piano. 

The Brass Quintet No.1, op.73 (1961) by Malcolm Arnold has many of the hallmarks expected of his lighter pieces – joviality and a sense of humour. But there is darker material in the middle movement Chaconne including a significant role for the tuba. The pot-boiler here is the Con brio finale, which uses every brass player’s trick in the book – mutes, double tonguing, and glissandi. It was written for, and dedicated to, the New York Brass Quintet.

Timothy Jackson, the Composer in Association with Onyx Brass, has recently arranged an early piano prelude by George Gershwin from around 1919. Novelette in Fourths is really a sugary, but thoroughly enjoyable little cakewalk, the precursor of jazz dance and music. The ‘fourths’ in the title reflect the considerable use of the prefect 4^th interval throughout.

There is no indication of when Gordon Langford’s Prelude, Polonaise and Promenade were composed. It has an approachable style, typical of a composer who was a frequent guest on the long-running BBC radio programme, Friday Night is Music Night (1953 to the present). Yet, this is not mere light music, but a sophisticated contribution to the brass quintet repertoire. The opening Prelude is cool, the Polonaise is bouncy and the finale, Promenade is light-hearted if a little long-winded. The tuba has a prominent role throughout.

It is always good to have a “premiere recording” of a work by Ralph Vaughan Williams, even if it is only 31 seconds long. The Flourish on the 'Morris Call' (1935) was written for the International Folk Dance Festival held that year in the Albert Hall. It was based on a tune collected by Cecil Sharp in Gloucestershire. It is all over before the listener can get their stylistic bearings. It is hard to imagine that this tiny miniature was completed in the same year as the major choral suite, Five Tudor Portraits.

Joseph Horovitz’s Music Hall Suite (1964) is an attractive work for brass quintet. The five movements illustrate aspects of the once popular burlesque theatre, music hall, circus, and cabaret. The opening Soubrette Song is naturally flirtatious, the Trick Cyclists are bouncy, whilst the Adagio-Team is wistful. The final two movements are the “saucy and colourful” Soft Shoe Shuffle and the rumbustious Les Girls. A great little piece that deserves its popularity amongst brass ensemble enthusiasts.

The final work on this imaginative disc is Leonard Bernstein’s Dance Suite for brass quintet -his last finished composition, written in 1989. It was premiered on 14 January 1990 at the American Ballet Theater’s Fiftieth Anniversary Gala. The Suite was originally conceived as a ballet score; nevertheless, the choreographer deemed its five brief movements too succinct for staging. Each section is dedicated to a prominent choreographer, for example: Dancisca for Anthony honours Anthony Tudor; the Two-Step pays tribute to George Balanchine; and the finale, quirkily titled MTV after the cable television station, salutes Jerome Robbins, Bernstein’s collaborator on West Side Story. This closing movement features a groovy jazz-tinged middle section, complete with a drum kit or ‘traps,’ adding rhythmic flair. Though modest in length - each movement, save the finale, lasts under a minute: the suite offers a compelling and spirited farewell from one of America’s most energetic composers.

The playing is outstanding throughout, complimented by an equally respectable recording. The liner notes by Bernard Hughes provide a detailed discussion of all the works. There are resumes of the Onyx ensemble, conductor John Wilson and the pianist (in Price’s Octet) Viv McLean.

This is a superbly curated CD, which rewards unhurried listening and repeated return. Its carefully chosen repertoire features musical treasures from both sides of the Atlantic.

Track Listing:
William Walton (1902-83)
Roaring Fanfare (1976)
John Adams (b.1947)
China Gates (1977)
Benjamin Britten (1913-76)
Funeral March (completed by Bernard Hughes (b.1974)) (1938/2022)
Florence Price (1887-1953)
Octet for brass and piano (1930)
Malcolm Arnold (1921-2006)
Brass Quintet no.1, op.73 (1961)
George Gershwin (1898-1937)
Novelette in Fourths (arr. Timothy Jackson (b.1972) (1919)
Benjamin Britten
A Fanfare for June 30th, 1970 (1970)
Gordon Langford (1930-2017)
Prelude, Polonaise and Promenade (date uncertain)
Ralph Vaughan Williams (1872-1958)
Flourish on the 'Morris Call' (1935) (arr. Christopher Gordon (b.1956))
Joseph Horovitz (1926-2022)
Music Hall Suite (1964)
Leonard Bernstein (1918-90)
Dance Suite (1989-90)
Onyx Brass/John Wilson; Viv Mclean (piano) (Price).
rec. 11-12 April 2024, Fleming Hall, Royal College of Music, London
Chandos CHAN 20399

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

George Dyson: Donald Brook’s Pen-Portrait from 'Composer's Gallery' Part II

The second part of Donald Brook’s Pen-Portrait is more personal, considering his character. It needs little commentary. Bear in mind that Composer’s Gallery was published shortly after the Second World War. Britain had accepted many musicians and artists as refugees escaping from the Nazi regime. Despite sympathy for these people, Dyson did not want to destroy the particularly British contribution to music. At the time, a foreign sounding name often carried more weight than a local one. Musicians even adopted continental monikers.

Donald Brook, Composer’s Gallery (London, Rockliff, 1946)

WHAT IS SIR GEORGE LIKE? The question can be answered without difficulty: tall, a typical schoolmaster, and stubbornly reticent on some of the subjects on which I tried to "draw him out." However, he has quite strong views on a number of matters related to his profession, as many of his students are aware. It annoys him, for instance, when people speak scornfully or in supercilious, patronizing tones, of amateurs. He believes that the world of music would be a very dull place without the amateurs: they form the cream of the audiences and do an enormous amount to keep alive an enlightened interest in music.

Similarly, he resents the popular notion that the musician who lacks the ability to earn a living as an executant can always make a career as a teacher, for this has produced an assumption that all teachers of music are mediocrities. If this were true, music would soon get in a very bad way.

Ever since the disturbances in Europe began to drive refugee musicians into this country, Sir George Dyson has worked assiduously to prevent them from competing unfairly with our own artists. He is not unsympathetic, in fact he has given much of his time in providing relief and assistance for refugees, but he fails to see why some of them should take unfair advantage of our hospitality, and exploit the silly form of snobbishness that accepts a foreign name as a hall-mark of great talent in the musician.

There have been dozens of cases where highly competent British musicians have been passed over in favour of foreign artists, of whose ability and past experience little has been known, merely because their foreign names have had a greater publicity value among the more ignorant sections of the community.

As President of the Incorporated Society of Musicians, Sir George has always been the champion of the British musician, who is as efficient as his counterpart in any other country in the world.

He believes that all our musicians must forsake narrow and selfish interests to pursue a policy that will establish their profession on a sound basis in the future and conserve our great heritage of music.

He advises all musicians to cultivate a power of concentration, calm purpose, and unwavering attention to work, so that they can detach themselves from the many distractions that surround them at the present time. Every man who is devoted to a high task of any kind must also be able to refresh and recreate himself by periods of repose, of contemplation, of detached and single-minded judgment of what he is trying to do, and what end he is serving. He should at times be able to get completely outside of preoccupation of every kind.

His advice to young musicians may be summed up in a statement made to his students at the College a year or so ago:

"Seize every chance that comes along, however humble and unpromising it may seem. Nobody will buy tickets to hear an unknown performer, and you can only become known by constantly giving superb performances, at first for small fees or even none at all. Young performers are like young banisters, who must take a brief for nothing rather than sit idle, otherwise no one will ever discover their talent. When a young barrister defends some penniless man skilfully, there is always a solicitor in the court who thinks 'There's a promising young man: I must remember him. That is the way all the great advocates began."

"If you look through the list of our most successful artists you will find that their careers have almost invariably been self-made. If you don't sing well for one guinea, you will never be offered ten. If you can't prove your worth in a scratch orchestra, you will never be asked to lead a good one. In music “the race is to the swift: the battle to the strong: To be a successful artist, the musician must have three gifts: talent, character and good fortune.”

Concluded.

George Dyson: Donald Brook’s Pen-Portrait from 'Composer's Gallery' Part I

Donald Brook wrote a series of books presenting attractive short studies or pen-portraits of a wide variety of musicians and authors. He had met these people and had a chance to speak to them about their achievements and interests. The present study of composer George Dyson was published in Composer’s Gallery (London, Rockliff, 1946)

Sir George Dyson (1883–1964) was an English composer, conductor, and educator known for his accessible yet richly crafted music. Born in Halifax, Yorkshire, he studied under Charles Villiers Stanford at the Royal College of Music. His compositions blend lyrical English traditions with vibrant orchestration, evident in works like The Canterbury Pilgrims, Nebuchadnezzar, and Concerto da Chiesa. As Director of the RCM (1938–1952), he modernized musical education and guided the institution through wartime challenges. Though his music waned in popularity posthumously, later revivals highlighted his contribution to British choral and orchestral repertoire, securing his place in musical history. [1]

ALTHOUGH the greater part of his life has been spent in the teaching of his art, Sir George Dyson's compositions during the past fifteen years [2] have established for him a reputation as a resourceful composer following chiefly the English tradition for oratorio.

He was born at Halifax, Yorkshire, in 1883, studied the organ and composition at the Royal College of Music for four years, won the Mendelssohn Scholarship, and then spent four years in travelling chiefly in Italy and Germany. One of the best of his earliest compositions, the colourful symphonic poem for orchestra Siena, was written while he was in Italy. [3]

During the next six years he held the position of music master in three public schools consecutively: Osborne 1908-1911, Marlborough 1911-1914, and Rugby, where he taught until he embarked upon a period of war service. [4] After taking his doctorate at Oxford in 1918 his next appointment was as organist and head music master at Wellington College in 1921, and later he also began teaching at the Royal College of Music. It was during this period that he wrote his book The New Music. [5]

In 1924 he moved to Winchester College, where he spent thirteen years as music master, and conducted both the local choral society and the amateur orchestra. While he held this appointment he wrote another book The Progress of Music (1932), [6] and composed some of his best works, notably In Honour of the City for choir and orchestra (1928), The Canterbury Pilgrims (1931), St. Paul's Voyage to Melita (first performed at the Hereford Festival in 1933), The Blacksmiths (first heard at Leeds in 1934), and Nebuchadnezzar (first performed at Winchester in 1935 and repeated at Hereford in 1936).

The most important of his earlier works, the set of Three Rhapsodies for String Quartet, [7] has been published by the Carnegie Trust. The Canterbury Pilgrims seems to be his most popular choral work: a colourful setting of Chaucer enriched by brilliant orchestration. It was first performed at Winchester in 1931, but London music lovers will probably remember it by the magnificent rendering given by the Royal Choral Society conducted by Dr. Malcolm Sargent at the Albert Hall in 1939.

Dyson's later works include the Symphony, first played under his own direction by the London Symphony Orchestra at the Queen's Hall [on 16 December] 1937, Quo Vadis for soli, chorus, and orchestra, first performed at the Royal Albert Hall on 12 April 1945, and his recent Violin Concerto, which was introduced to the musical world by Albert Sammons at a concert held in the Cambridge Theatre in the summer of 1942. [8]

George Dyson succeeded Sir Hugh Allen as Director of the Royal College of Music in 1938 and was knighted three years later. When the students at the College offered their congratulations upon the honour conferred upon him, he replied in the following little verse (not his own, by the way): "Some do the work/Some get recognition;/Better join the first;/There's less competition."

Notes
[1] The two key texts for potential students of this composer are George Dyson: Man and Music by Christopher Palmer, (London, Thames Publishing, 1996) and Sir George Dyson: His Life and Music by Paul Spicer, (Woodbridge, Boydell Press, 2014)

[2] Brook’s pen-portrait wad written in 1946.

[3] Siena was premiered during a Patron’s Fund Concert at the Queen’s Hall, London on 11 July1907. The work is no longer extant.

[4] During the First World War, Dyson was part of the 99^th Infantry Brigade. Despite not being an expert in hand grenades, he was promoted to Brigade Grenadier Officer and subsequently drew up a training program which was widely printed and circulated.

[5] George Dyson's The New Music was published by Oxford University Press in 1923. It was a contemporary analysis of emerging musical trends, illustrated with examples of the music under discussion.

[6] George Dyson's The Progress of Music explores the historical development of music, examining its evolution across different settings, including the church, the stage, and the concert hall. The book, first published in 1932, provides an insight into the social and artistic forces that shaped musical traditions over time.

[7] The Three Rhapsodies for string quartet, were composed between 1905 and 1912. They were published by the Carnegie Trust in 1920.

[8] According to Paul Spicer (2014) the Violin Concerto was first heard during a BBC Broadcast on 16 February 1942.

To be continued…

J.S. Bach Organ Favourites on the Mighty Willis Organ

No introduction is needed to Johann Sebastian Bach. In depth discussion is not required about the varied pieces performed on this disc. Unfortunately, the liner notes have no details about the splendid organ in Liverpool Anglican Cathedral. And for organ buffs, there in not even the obligatory specification. It is an unfortunate omission.

The Grand Organ of Liverpool Anglican Cathedral is a monumental instrument by any stretch of the imagination. It is physically massive and acoustically commanding. Construction of the Cathedral itself began in 1904 and was not finished until 1978. Building of the organ was contracted to Messrs. Henry Willis and Sons, Ltd during 1912. Due to the First World War, the main part of the Cathedral was not complete until 1924. The organ was partially installed by the time of the building’s consecration on 19 July 1924. Work on the instrument was finalised during 1926. At this time, it was the largest pipe organ in the world. It remains the largest in the United Kingdom.

According to the Cathedral Website, there are currently more than 11,000 speaking pipes and more than two hundred stops. There are five manuals: Great Solo and Bombarde organs in the South case and the Swell, Choir and Positif located in the North case. The Pedal stops are split between the two cases. Additional divisions include the Corona Organ, installed in 1997 high under the tower vaulting, and the Central Organ, added in 2007 on the South Central Gallery. The two consoles are in a gallery beneath the North Choir case, and a mobile one at floor level, gifted in 1989.

Noel Rawsthorne (1929–2019) was a distinguished British organist and composer, best known for his long tenure as Organist of Liverpool Cathedral from 1955 to 1980. A former chorister at the cathedral, he studied with Harold Dawber, Fernando Germani, and Marcel Dupré. Renowned for his virtuosity and flair, he toured internationally, including giving important recitals in the former USSR. His compositions - ranging from liturgical works to a humorous organ piece like Hornpipe Humoresque - remain popular, especially in Liverpool. He also served as City Organist at St George’s Hall and taught at St Katharine’s College (now Liverpool Hope University.) He was succeeded in 1980 by the present incumbent Professor Dr. Ian Tracy.

It is always good to hear a measured performance of the hackneyed Toccata & Fugue in D minor, BWV 565. Possibly not by JSB, this warhorse never fails to thrill. Whoever wrote this example of Gothic grandeur evoked awe with its incisive fugue, and timeless Baroque brilliance.

Rawsthorne gives a tender, absorbed account of Chorale Prelude BWV 731 'Liebster Jesu, wir sind hier' (Lord Jesus we are here.) Chorale Prelude BWV 622 'O Mensch, bewein' dein' Sünde groß' (O man, bewail thy sin so great) with its elaborated ornamentation and slow unfolding melody, compliments its mood of deep repentance.

The central Gravement section of the Fantasia in G major, BWV 572 - with its complex five-part texture, expressive suspensions, and subtle syncopations - is one of the highpoints of Baroque organ music. Framed by a toccata-like flute introduction and a coda of “acciaccatura-strewn” broken chords, it would be my dream to process into Liverpool Cathedral to the sound of this magnificent work.

It is widely believed that in the Prelude & Fugue in C major, BWV 545, Bach sought to amalgamate elements of the traditional organ prelude and fugue with the structure and idiom of the three-movement Italian concerto, a form popularised by composers such as Vivaldi. Rawsthorne gives a robust performance of the “rhythmically buoyant” Prelude and then impressive fugue. A version exists with a central Largo.

Christmas is always on its way when Chorale Prelude BWV 645 'Wachet auf, ruft uns die Stimme' (Sleepers Awake) is heard in choirs and places where they sing. Originally sung by tenors in Cantata 140, it was rescored for organ as the first of the Six Schübler Chorales. C.H.H. Parry has suggested that it portrays the “dancing of Zion’s daughters at the coming of the bridegroom. Certainly, it balances joy with just a little sense of anxiety. The Chorale Prelude BWV 649 'Ach bleib’ bei uns, Herr Jesu Christ' (Ah remain with us, Lord Jesus Christ) is a graceful and contemplative piece, ideally suited to Evensong or as consolation at a funeral service.

It is a shame that the glorious Fugue in E flat major, BWV 552 St Anne could not have been preceded by the magnificent Prelude. However, I do not think that Noel Rawsthorne recorded it. The Fugue, which is said to symbolise the Holy Trinity, with its three sections and key signature of three flats, is given a resounding performance here. The “St Ann” refers to an English hymn tune used for O God our Help in Ages Past but would probably not have been known to Bach.

Noel Rawsthorne’s arrangement for organ of the Sinfonia from Cantata 29 “Wir danken dir Gott” (We thank you dear God) is magnificent. It is a timeless piece that seems to look forward to the fireworks of Widor and Vierne. A bit to fast for a wedding recessional but guaranteed to bring the house down at any recital.

Only the Toccata of the Toccata and Fugue in F major, BWV 540 has been recorded here. This perpetuum mobile is perfectly suited as a standalone piece. It builds up to a prolonged, tightly controlled climax and includes two splendid pedal solos.

As a little bonus, Alto Records have included a gorgeous performance of the Air from the Orchestral Suite No. 3 in D major, BWV 1068, better known as the Air on a G string. It is heard here in an arrangement by Noel Rawsthorne, recorded at Coventry Cathedral on that place’s outstanding organ, built by Harrison and Harrison in the 1960s. The instument was overhauled and upgraded to include solid-state technology in 1986/87: the present offering predates this rebuild by three years.

The liner notes by Peter Avis give a decent introduction to the music and include a brief note about the organist. I have already noted the absence of the instrument specification. The recording, dating back to the 1980s, holds up remarkably well.

Much of this disc was (I think) originally released on the HMV Greensleeves and Classics for Pleasure labels. It does not give this information in the liner notes.

A splendid introduction to Bach’s organ repertoire, played on one of the UKs most significant instruments by a most talented and skilful performer.

Track Listing:

J.S. Bach (1685-1750)
Toccata & Fugue in D minor, BWV 565
Chorale Prelude BWV 731 'Liebster Jesu, wir sind hier'
Chorale Prelude BWV 622 'O Mensch, bewein' dein' Sünde groß'
Fantasia in G major, BWV 572
Prelude & Fugue in C major, BWV 545
Chorale Prelude BWV 645 'Wachet auf, ruft uns die Stimme’.
Chorale Prelude BWV 649 'Ach bleib’ bei uns, Herr Jesu Christ'
Fugue in E flat major, BWV 552 'St Anne'
Cantata BWV 29 'Wir danken dir, Gott, wir danken dir': Sinfonia (arr. Noel Rawsthorne)
Toccata in F major, BWV 540
Orchestral Suite No. 3 in D major, BWV 1068: Air (arr. Noel Rawsthorne)
Noel Rawsthorne (organ)
rec. 1980, Liverpool Cathedral; 1984, Coventry Cathedral (Air)
Alto ALC 1704

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

Arthur Sullivan in Manchester: A Grave Matter

Sir Arthur Sullivan (1842–1900) was a British composer best known for his operatic collaborations with W.S. Gilbert, creating classics like H.M.S. Pinafore, The Pirates of Penzance, and The Mikado. His music blended Victorian charm with sophisticated orchestration, earning lasting acclaim. Sullivan also composed symphonies, choral works, and church music, including the hymn Onward, Christian Soldiers. Despite his success in comic opera, he aspired to be recognized for his serious compositions.

Sir Walter Newman Flower (1879–1964) was an English publisher and author who revitalized Cassell & Co., later becoming its owner. He published studies on Handel, Schubert, and Sullivan, edited Arnold Bennett’s journals, and commissioned Churchill’s A History of the English-Speaking Peoples and The Second World War. Flower’s study on Arthur Sullivan was published in 1927, with input from the composer’s nephew, Herbert Sullivan. It was revised in 1950, It offers insights into his personal and professional relationships, including his collaboration with W.S. Gilbert. The book is valued for its first hand accounts but has been criticised for its selective portrayal of Sullivan’s career.

Arthur Sullivan’s only Symphony, the Irish was premiered at the Crystal Palace on 10 March 1866 to considerable acclaim. Shortly afterwards the composer headed north to Manchester. The following anecdote takes place during 1866.

Shortly after the production of [his] Symphony, Sullivan proceeded to Manchester, whence a proposal had come to him to write the incidental music to a theatrical production on an elaborate scale which was to be made at a local theatre during Christmas week. The journey proved fruitless, but it gave him an experience which he constantly related against himself. He arrived at Manchester on an evening of drizzling rain and drove at once to the theatre. He asked to see the libretto for which his music was required; it had not been written. Then, he insisted, he mut get into immediate touch with the author. This individual, so Sullivan to his surprise was informed, was an amateur of considerable merit, and a lodge-keeper at the local cemetery! A keeper of graves as a collaborator! This was either romance or an absurdity, but the insistence of the theatre people assured him that he had not been brought from London on an errand of madness. So, he would go and see.

He hired a cab and drove for miles in search of the cemetery. Rain was now coming down in torrents, and the roads were a flood. It was late at night when he reached the cemetery lodge, and there seemed to be no other house for miles. Neither were there any lights in the lodge windows; everyone was in bed. He scrambled out of the cab, groped to the lodge door in the dark, knocked and waited. After an eternity, a candle appeared at the bedroom window, and an aged man, wearing a nightcap, put his head out and volubly cursed Sullivan with well-chosen oaths. Then he came down and unbolted the door.

Sullivan, wet and not too pleasantly disposed, went inside. The old man, wearing a short coat over his nightshirt, and holding up a fluttering candle, asked him brusquely what he required. In a few words Sullivan explained that he wanted to know something about the plot of the Christmas piece, for it was important that he should return to London in the morning. The cemetery keeper listened; his jaw fell; in a few moments he was quite sure that he had been called out of bed by an imbecile. Had the intruding fellow driven here in the middle of the night about a "plot" or a grave? In vain did Sullivan try to push into a seemingly addled brain that he had come about a "plot" the plot of a theatrical piece. They jabbered at each other in terms which neither understood, then Sullivan went out and left him with his candle and nightshirt, and the melancholy return to Manchester began.

It was not until the next morning that Sullivan discovered that the cabdriver had driven him to the wrong cemetery!

The discovery only increased Sullivan's chagrin. He had finished with Manchester. The next day he returned to London to find awaiting him an invitation from the Committee of the Norwich Festival to write a new work for production at the festival.
Sullivan, Herbert, and Flower, Newman, Sir Arthur Sullivan: His Life, Letters and Diaries, London, Cassel, 1927/1950

The work that Arthur Sullivan produced for the Norwich Festival was the Overture in C In Memoriam (1866). It was premiered on 30 October 1866. It was a sincere tribute to his late father, blending grief with lyrical warmth. 

A Few More Surprises

This disc is like a buffet, rather than a four-course meal. Do not try to listen to these works one after the other. Pick out tracks that catch your eye, savour them, then return to explore deeper. There is much value here that a cursory hearing would miss. And that would be a pity. A lot of imagination has gone into creating this fascinating album. As can be seen from the track listing, there are several well-kent composers, and not a few that may be new to the listener.

I began with the remarkable Sonata in F major, op.4, no.5 for recorder and piano (1745) by John Stanley and realized by Gerald Finzi. This performance makes no great attempt at creating “an historically correct performance.” For one thing Finzi has specified the use of a piano, rather than a harpsichord and the original called for either flute of violin. But do not be deceived: this arrangement for the recorder (transposed up a minor third) succeeds remarkably well.

Going back to the opening track, I listened to Anthony Hedges’s last substantial composition: the Elegy for Tony, op.167, for recorder and piano. The Tony in question was the English pianist Anthony Goldstone, who died in 2017. It was played at a memorial concert given in his memory. This is a heartfelt tribute, blending melancholy with a romantic sound. It strikes a balance between sorrow and beauty, evoking longing, and intimacy. An orchestrated version by Hedges has been recorded on Prima Facie PFCD101, reviewed here.

In 1952 Howard Ferguson completed his charming Three Sketches for flute and piano. They had been gestating for 20 years and had their origins in unpublished piano pieces. The sophisticated Poco allegro is succeeded by a refined Andante. The third Sketch incorporates a Hindu melody, "Cuckoos sing in the mango tree", adding an exotic and lyrical touch. Other editions were prepared for the oboe and recorder.

Robin Stevens’s undated Variations on Bobby Shafto for recorder and piano is just a bit of fun. Do not take it too seriously, especially after the grandiose opening bars on the piano. Look out for loads of harmonic twists and turns and a little bit of instrumental overblowing.

David Blake’s touching setting of The [A Ballad of] Mulberry Road by Ezra Pound is well wrought. It is based on the tale of Rafu, a silkworm feeder. The text seeks to portray her delicate beauty and industrious nature. There is a “voices off” comment at about 1.20, which John Turner assures me is in the score!

I was pleasantly surprised by the two pieces written by Stephen Banfield. Renowned primarily as a musicologist affiliated with several prestigious universities, he is celebrated for his authoritative volumes, including Sensibility and English Song (1985) and the essential biography of Gerald Finzi (1997). The Capriccio, which was completed in 1972, has a French feel to it, and includes a quotation from Henri Duparc’s underrated tone poem Lénore. The Three Miniatures for descant recorder and piano (1974) will remind the listener of Finzi’s music. They all deserve to be in the regular recorder repertoire.

Three compositions are included by Douglas Steele. The liner notes explain that he was the present recorderist’s music teacher at Stockport Grammar School. The first is High Noon for recorder and piano (1987) featuring a potpourri of “memorable melodies.” It outstays its welcome. This is followed by an evocative song, Hark Shepherds Awake for soprano and recorder (n.d.), with words adapted from the Wakefield Mystery Plays. The last of Steele’s offerings is the miniscule Serenade for recorder and piano (1973). It is a little gem.

My favourite work on this disc is the late Peter Dickinson’s Homage to Poulenc, for recorder and piano (2008). The liner notes explain that it is a transcription from one of Dickinson’s Five Forgeries for piano duet dating back to 1963. It has all the polish and urbanity of the French master. The Air, for solo recorder (1958/2021) was originally devised for solo flute. Its Theocritean pastoral mood is strangely captivating.

There is an entertaining back story to Ashton-under-Lyne born John Golland’s contribution to this disc. His Caprice for solo recorder (1987) was jotted down on a train journey from London Euston to Manchester Piccadilly after he had attended a recital given by John Turner and Neil Smith at the London College of Music. This rondo-like number contrasts a variety of moods in a short space of time. It is surprising that Golland was able to find the peace and quiet on the train to create such a lovely miniature.

Mátyás Seiber’s Pastorale, for recorder and piano (1941/1952/2010) began life as a work for recorder and string trio. It was later expanded into a Pastorale and Burlesque for flute and string orchestra. At the same time, a piano reduction was made. John Turner plays a version of the first section only, using the original recorder part and with the piano score. It does not strike me as being particularly “bucolic.”

The Deux Bouches, a Vocalise for soprano and recorder (2023) by Lesley-Jane Rogers is a haunting piece where the two soloists “bend/blend” around each other. It is the most challenging work on this disc.

Two tiny pieces are heard by the Moravian-born composer Vítězslava Kaprálová. Lasting less than two minutes in total, the Tales of a Small Flute, for recorder and piano (n.d.) are delightful. John Turner suggests that these winsome numbers may be a tribute to her husband, whom she married in 1940. Sadly, she died a couple of months later.

Max Paddison’s After Orpheus, for recorder and piano had its genesis in a 1966 setting of William Shakespeare’s Orpheus with his lute. He later arranged it for the present forces. The original portrayed Orpheus, the legendary musician, whose melodies enchant nature itself. However, this revision seems to major on the darker elements of his life. Whilst not musically describing his violent end, the music highlights the inevitability of death and the vulnerability of hope.

Oldham-born Michael Baron’s offering looks back to the Northern School of Music’s Annual Picnic. These included visits to the Peak District and the Cheshire Plain with staff and pupils. Baron’s Picnic, for recorder and piano (2021) ably captures the delight of these occasions, with its elegance and charm.

Gerald Hendrie’s Cassoulet Rag, for recorder and piano (2019) is relaxed and ticks the ragtime boxes. Originally a number in a book of piano rags written for friends and neighbours, this arrangement was made for the present soloists. Cassoulet is the name of the piece’s original dedicatees house: it is the Gascon language (southwest France) word for a young oak.

The final track on this disc is by John Turner himself. Wedding Notes for solo recorder is a short, humorous set of variations based on the ubiquitous Here comes the bride. It was written for the wedding of friends, held at Northcliffe Chapel in Styal in 2024.Whatever would Wagner have thought?

The liner notes by John Turner provide information about the composers and their musical contributions. The text of songs would have been helpful. There are extensive resumes of the three performers. The recording is always clear and bright, enhancing outstanding performances all round.

This smorgasbord of previously unrecorded (I think) music is a valuable addition to the recorder repertoire. It is a sound and sophisticated production from the first note to the last.

Track Listing:
Anthony Hedges (1931-2019)
Elegy for Tony, op.167 for recorder and piano (2017)
Howard Ferguson (1908-99)
Three Sketches, op.14 for recorder and piano (1932-52)
Robin Stevens (b.1958)
Variations on Bobby Shafto, for recorder and piano (n.d.)
David Blake (b.1936)
The Mulberry Road, for soprano and recorder (2014)
Stephen Banfield (b.1951)
Capriccio, for recorder and piano (1972)
Douglas Steele (1910-99)
High Noon for recorder and piano (1987)
Hark Shepherds Awake, for soprano and recorder (n.d.)
Serenade, for recorder and piano (1973)
John Stanley (1713-86), arr. Gerald Finzi (1901-56)
Sonata in F major, op.4, no.5, for recorder and piano (1745)
Stephen Banfield
Three Miniatures, for descant recorder (1974)
Peter Dickinson (1934-2023)
Homage to Poulenc, for recorder and piano (2008)
Air, for solo recorder (1958/2021)
John Golland (1942-93)
Caprice for solo recorder, op.76 (1987)
Mátyás Seiber (1905-60)
Pastorale, for recorder and piano (1941/1952/2010)
Lesley-Jane Rogers (?)
Deux Bouches, a Vocalise for soprano and recorder (2023)
Vítězslava Kaprálová (1915-40)
Tales of a Small Flute, for recorder and piano (n.d.)
Max Paddison (b.1945)
After Orpheus, for recorder and piano (1966/2000)
Michael Baron (b.1958)
Picnic, for recorder and piano (2021)
Gerald Hendrie (b.1935)
Cassoulet Rag, for recorder and piano (2019)
John Turner (b.1943)
Wedding Notes for solo recorder (2024).
John Turner (recorders), Lesley-Jane Rogers (soprano), Stephen Bettaney (piano)
rec. 2024, Heaton Moor Studios, Stockport, Cheshire
Prima Facie PFCD246

Eric Coates’s Two Light Syncopated Pieces (1924)

On Saturday, 5 September 1925, Eric Coates's Two Light Syncopated Pieces received their premiere performance at the Queen's Hall, London, as part of a lengthy promenade concert. The programme that evening was diverse, and included Mozart's Violin Concerto No. 4, Edvard Grieg's Peer Gynt Suite No. 2, and Ottorino Respighi's Fountains of Rome. The concert opened with Engelbert Humperdinck's overture to Hansel and Gretel and concluded with the Valse from Tchaikovsky's Eugene Onegin. The New Queen's Hall Orchestra was primarily conducted by Henry Wood, with Jelly d'Arányi as the violin soloist in the Mozart, however, Coates conducted his own work. Michael Payne (2012, p.71) states that Coates's inclusion in the Proms was notable, as light music and ballads were "gradually phased out" at the time.

The birth of Coates's son, Austin, in April 1922, marked a period of decreased musical output for the composer, as noted by Ian Lace (1986, p.39). Aside from a few songs, no major works followed The Merrymakers Miniature Overture (1923). Coates eventually returned to composition, completing his Two Light Syncopated Pieces – Moon Magic and Rose of Samarkand - for the 1925 Proms.

One of the songs he composed during this period was ‘Rose of Samarkand,’ which set a text by Roydon Barrie. Interestingly, "Roydon Barrie" was the pen name of Rodney Bennett (1890–1948), a British lyricist, playwright, and children's author, and the father of composer Richard Rodney Bennett. It was transcribed for orchestra. The song was dedicated to Debroy Somers, bandleader of the Savoy Orpheans. Coates realized that as the Orpheans' music grew in popularity, he could achieve similar effects - known as "symphonic syncopation” -by using a standard symphony orchestra (Payne, op. cit.).

Eric Coates's Two Light Syncopated Pieces were conceived as foxtrots, a sophisticated ballroom dance characterized by walking steps and jazz rhythms. Moon Magic evokes a romantic, dreamlike quality. Its syncopated rhythms and lush string textures suggest moonlight glinting over a still landscape. Sharp leaps, chromatic triplets, and muted brass offer a stylized nod to the well-crafted dance band tunes of the era (Payne, 2012, p. 72). Strings and woodwinds bathe the work in a gentle radiance, evoking the elegance of a moonlit ballroom. Rose of Samarkand shifts into a more exotic register, reflecting the era’s fascination with the East. Its title evokes Central Asian allure, which Coates complements with sultry rhythms, orientalist colours, and percussive intensity. Structured around a persistent drumbeat - first tenor drum, then side drum - it mirrors the rhythmic grounding typical of dance bands. The orchestration divides the ensemble into clearly defined sonic "teams" of brass, reeds, and rhythm, akin to a jazz orchestra (Payne, op. cit.).

Harmonically, both pieces are steeped in the then current language of dance band jazz, using major sevenths, elevenths, and minimal modulation.

These two short pieces reveal Coates’s knack for blending catchy tunes with a sound "classical" musical technique. Rooted in the interwar love of jazz rhythms and syncopation, they carry his trademark melodic polish. Lasting just six minutes in total, they offer a charming window into his playful, light-hearted orchestral style.

You can listen to Eric Coates’s Two Light Syncopated Pieces on YouTube, here and here.  The BBC Concert Orchestra is conducted by John Wilson, and the recording was released on the ASV Record label, CD WHL2107 (1997).

Bibliography
Lace, Ian, In Town Tonight: A Centenary Study of Eric Coates, Thames Publishing, 1986.
Payne, Michael, The Life and Music of Eric Coates, Ashgate Publishing Ltd, 2012.

It's not British, but...Aaron Copland on Alto

The CD opens with Billy the Kid: Ballet Suite. This evocative score was originally written for the Ballet Caravan at the behest of the American author and impresario, Lincoln Kirstein. It was premiered in Chicago during October 1938. The following year Copland made an orchestral suite which was first heard at the Radio City, New York, on 9 November 1940. The story of the ballet presents Billy’s life, from his childhood, living on the American frontier, and his turning to crime and death. The Suite presents six vignettes, including The Open Prairie, Street in a Frontier Town, Card Game at Night, Gun Battle, Celebration after Billy’s Capture, and The Open Prairie Again. Traditional folk tunes are moulded by Copland's distinctive style. The music alternates between lively, rhythmic passages and more serene, atmospheric moments, suggesting the vast landscapes and vibrant spirit of the Wild West – at least in the imagination of Hollywood. The composer admitted that it was the “first time that I attempted to tap the rich source of American folk music and give it a full orchestral setting.”

The present recording was released in 1958 on the Everest label (SDBR 3015). The liner notes do not explain that it was recorded in Walthamstow Assembly Hall, London, during 17 November 1958.

Copland as conductor of the London Symphony Orchestra is subtle throughout, rather than overdoing the “rootin’ tooton’ and shootin’” inherent in the story.

The same LP also featured Aaron Copland's Statements for Orchestra, completed in 1935. It was a commission by the League of Composers. The first two movements were premiered by the Minneapolis Symphony Orchestra under Eugene Ormandy on 9 January 1936, with a full performance not being heard until 7 January 1942 by the New York Philharmonic conducted by Dimitri Mitropoulos. There are a series of six brief movements, with “suggestive titles” given as an aid to the public understanding what Copland had in mind when writing these pieces. These abstract, dissonant, movements are Militant, Cryptic, Dogmatic, Subjective, Jingo, and Prophetic. This is an exceptionally angular and effective performance of this work.

Copland's Symphony No. 3 was written between 1944 and 1946. It was commissioned by the Koussevitzky Music Foundation in honour of Serge Koussevitzky's late wife. The symphony was premiered by the Boston Symphony Orchestra under Koussevitzky in 1946. It is true to say that this symphony expresses the quintessential American sound Copland is known for, blending expansive, lyrical melodies with powerful, rhythmic drive. 

The Symphony is presented in four movements, with the final movement incorporating Copland's famous Fanfare for the Common Man. This fanfare, originally composed in 1942, leads to a triumphant and optimistic conclusion to the symphony. Throughout, Copland's use of rich orchestration and dynamic contrasts creates a vibrant and expressive musical landscape. It is often hailed as a representation of the “American spirit” and has become a staple in the orchestral repertoire. Like Appalachian Spring, it displays his ability to capture the essence of a nation through music. It remains an often tender and always inspiring essay, with emotional depth and technical brilliance. The Symphony was originally released in 1959 on Everest SBDR 3018, in stereo, and was recorded on 18 November 1958, once again at Walthamstow Assembly Hall.

The liner notes by Jeffrey Davis give a helpful introduction to this repertoire. They include several passages from Copland’s writings. Bearing in mind that these recordings are more than 67 years old, they are remarkable in both their depth and vivacity. At the time of the original vinyl releases, they were highly regarded technically.

I enjoyed these “historic” performances of three important compositions by Copland. Many conductors such as John Wilson, Leonard Slatkin, Leonard Bernstein, and James Judd have turned their attention to some or all these works. Yet there is something special about a recording of a piece made by its creator. There is restraint and clarity along with a freshness and leanness about these recordings that transcends time.

Track Listing:
Aaron Copland (1900-90)
Billy the Kid: Ballet Suite (1938)
Statements for Orchestra (1934)
Symphony No.3 (1946)
London Symphony Orchestra/Aaron Copland
rec. 1958
Alto ALC 1703

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

Robert Farnon: City Streets

It is tricky to work out what city Robert Farnon had in mind when he completed his vibrant orchestral piece, City Streets. Despite the composer being Canadian by birth, I do not think this bouncy number refers to Toronto or Montreal. A clue may be found in the work’s genesis. The liner notes of a Robert Farnon Appreciation Society LP issued in 1977 (RFAS LP1) explains that some of his most familiar works were not originally compositions in themselves. Broadcasters liked to have a library of “short openings, endings and links with distinctive themes that quickly achieve public recognition.” To this end, Farnon had provided a series of “Openings and Endings” for use in the 1960s incarnation of the well-known BBC current affairs programme, Panorama. This consisted of eight short pieces entitled the “Pulse of the City.” Two of these were later used to introduce news programmes in Belgium. Farnon “bowed to the numerous requests” for a longer work making use of some of these themes. The result was City Streets. So, I am guessing that the ‘Streets’ are London,  as this is the home of the Beeb. The music is energetic, creating great excitement, and capturing the hustle and bustle of city life. To this ends he uses shimmering strings and dynamic, often muted, brass to create a sense of movement and excitement. Farnon creates an almost cinematic atmosphere, making City Streets a quintessential example of his ability to translate everyday experiences into evocative musical storytelling.

Listen to Robert Farnon’s City Streets on YouTube, here. The Queen's Hall Light Orchestra is conducted by the composer.

Cyril Scott: Pen Portrait by Watson Lyle, 1933 Part II

Cyril Scott had a profound interest in occultism, viewing it as a "synthesis of Science, Mysticism, Philosophy, Psychology and Religion, in their purest forms." This fascination developed after a period of agnosticism, leading him to Theosophy and eventually to an engagement with various occult concepts. He formally joined the Theosophical Society in 1914 and remained a member throughout his life.

Scott believed in a "supernormal" rather than supernatural reality, where spirit and matter are distinct aspects of the same fundamental truth. He also embraced concepts like Karma and reincarnation. His connections with clairvoyants, such as Robert King and Nelsa Chaplin, further deepened his explorations into the occult. Scott even claimed to be a channel for music from nature spirits and devas, experimenting with symbolic harmonies and scales to represent these entities. While his musical characteristics had begun to develop before his occult interests, his later works show a sophisticated attempt to translate mystical experiences and notions into musical form. Lyle Watson continued his chat:

"Do you," I asked, turning from the wide bay window of the delightful studio of his home in town," [1] with such a pleasant outlook as that, find it hard to concentrate upon work?" I indicated the terraces and lawns of the garden, bathed in the yellowing effulgence of the June afternoon. Sitting down facing him from the opposite end of a settee, I watched him puff away industriously at a favourite hookah pipe for a second or two before replying to me, his right arm easefully quiescent along the back of the settee, his left hand nervously pliant over the cane-encased, glass, rose-water reservoir of the pipe. His fingers tightened around it. Mobile lips and mouthpiece reluctantly severed companionship. From their citadel of his domed skull, his grey eyes gazed straightly into mine.

He said: "When there is the real urge to creative work, physical surroundings are not always of great importance. One does not notice them. There are influences near us far stronger than they. It is these influences that are important to the artist."

"Psychic influences?"

He inclined his head to my question, his hand again contemplatively engaged with the bowl of his pipe, its mouthpiece once more in intimate communion with his lips. For a little neither of us spoke; yet one became strangely aware of an ebb and flow of thought between us, so that I somehow felt no break in continuity of speech when he said: "It may sound odd, but until a few years ago I never had the least desire either to draw or paint. Then suddenly I found myself with a longing to do so. Perhaps you noticed the panel in the next room? Of course I don't profess to be a real painter, but I find occasionally working with colours very good for a tired brain." (I had noticed the Italian-looking landscape, but did not know whom it was by. It seemed incredible that anyone lacking years of study and tuition in graphic art could have produced it.)

Feeling however that this occurrence, evidence of yet a third facet of Scott's creativeness, though interesting in itself, threatened to lead away from the real purpose of our talk, I said, sitting down beside him again: "I suppose, as a pianist, you find the instrument rather helpful when composing?"

"But I don't consider myself a pianist," he said almost sharply. [2]

"Come, come! I have heard you play very well indeed," I answered, laughing, " and as I hear all kinds of pianists - good, bad and indifferent -e very concert season, I may claim to be some judge of what is, and what is not, good pianistic art. I have heard you play your own music delightfully."

"Ah! My own music." Smiling slightly as though found out in something, he went on: "But I am not a pianist within the general meaning of the term." "Still, how about the influence of the instrument when you compose?" I hope he forgave my tenacity.

"Sometimes I use it, and sometimes I do not. I have written quite a lot of music-chamber music without employing it at all. On the other hand, I may use it when composing piano works. It is useful for trying over things."

"As a sort of palette?"

"Yes. I do not find it cramps the imagination. In fact, I use a composer's piano."

"What's that?" I exclaimed. For indeed I had never heard of any special style of piano for composers.

"I'll show you it." Rising, with his easy, graceful manner, he moved across the carpet into the small room I had just left.

"This is the only composer's piano in existence, I believe. I invented it, and had it specially made. Look!" Seating himself before what looked rather like a plain, black wood dummy upright pianoforte without a keyboard, he raised part of the front which folded backwards forming a broad writing desk for music MS. paper and disclosing the keyboard of the pianoforte inside this plain case.

"There you are," he said. "Everything ready to hand to test by ear the colours' mixed on the palette!" "Splendid!" said I enthusiastically. "For the little composing I do nowadays, I manage irksomely upon the lid of the grand piano as desk, sprinkling ink freely as I jump about. But this"

"Saves time," observed Cyril Scott laconically, slowly closing the lid of his invention as he rose and went back in his reposeful way to the larger room, puffing again at his pipe with its bubbling little song of the rosewater in the glass reservoir.

Watson Lyle Modern Composers XII-CYRIL SCOTT The Bookman, November 1933, p.115ff

Notes

[1] Probably 37 Ladbroke Grove, Kensington and Chelsea.

[2] In the early years of the 20th century Scott “strove to carve out a career as a young concert virtuoso.” He retained the technical skills well into his final years.

Concluded.

Cyril Scott: Pen Portrait by Watson Lyle, 1933 Part I

Cyril Scott (1879-1970) was an English composer, writer, and poet who, at the beginning of the 20th century, was considered a pioneering figure in modern British music. He was part of the "Frankfurt Group," a circle of composers who studied at the Hoch Conservatory in Frankfurt, Germany.

Scott's music is often characterized by its lyrical qualities, innovative harmonies, and impressionistic textures. He incorporated elements of Romanticism with more modern sounds, creating a unique and individual style that set him apart from the prevailing Germanic influences of the time. While he composed a wide range of works, including symphonies, concertos, operas, and chamber music, he is perhaps best known for his shorter piano pieces, such as the exotic and atmospheric Lotus Land.

Beyond his significant musical output (around four hundred compositions), Scott was also a prolific writer and poet, with interests in occultism, alternative medicine, and philosophy. Although his popularity as a composer waned later in his life, his work has seen a resurgence of interest in recent years, recognizing his important contribution to British music history and his forward-thinking approach to composition.

Watson Lyle was a British music critic active in the early 20th century. He contributed to The Musical Quarterly, and other contemporary periodicals. Lyle's work reflected a keen analytical approach to music criticism, balancing admiration for technical mastery with thoughtful commentary on artistic interpretation 

The present “conversation” with Cyril Scott was written in 1933 and published in The Bookman during November of that year. The composer would have been 54 years old at that time.

While I knew from "Grove," and the catalogues of music publishers, that Cyril Scott had composed several works of symphonic proportions, besides certain charming songs and pianoforte pieces familiar to most concert-goers, I confess to a feeling of surprise upon discovering that the numbers of his opera approached a hundred; and I imagine that this information will surprise most folks. Also, the fact that it is fifty-four years since this youthful looking man, with hair still unsilvered, was born. By the age of seven he had learnt the rudiments of music and began to write it, and at twelve left his home in Cheshire (Oxton) [1] to seriously pursue his art at the Hoch Conservatoire, Frankfort-on-the-Maine, fellow students there being Percy Grainger, Norman O'Neill and Roger Quilter. [2]

To the general public Cyril Scott is known as the composer of Lotus Land, Danse Nègre, Blackbird's Song, and that other exquisite miniature for voice and pianoforte, Lullaby. That this same public is ignorant of his symphonic works (although we owe the production of his Second Symphony to Sir Henry J. Wood at a Prom. of 1903) and his opera, The Alchemist (1926) and has but a nodding acquaintance with his chamber music and his pianoforte concerto, must be set down to lack of enterprise in our concert organisations, for it is by these large works that he is best known on the Continent. True, we have enjoyed occasionally broadcasts of his smaller works (such as the broadcast of his songs on August 9th, with the composer at the piano), but while they bear the imprint of his poetic fusion of tone-colour and rhythm, they naturally give the impression of an artist of lesser stature than is known to the German musical public.

There may be two explanations for this state of affairs. Either those including Scott's works in their programmes, and publishing lists, believe in giving the public more of the particular kind of his music for which it has shown a decided preference; or else the unobtrusive personality of the composer has not insisted upon what might be termed his three-dimensional importance in music - indeed in art. Naturally it is with Cyril Scott the composer we are here primarily concerned, but in passing reference must be made to his other works in poetry and prose. If one's cheeks flare now and then at home truths while reading Childishness: A Study in Adult Conduct, [3] one can laugh forgivingly at its piquant, sarcastic wit. Despite its ruthless commentary upon our times and our foibles, the book has a pervading humanity linking it spiritually to the repose in the second subject of the slow movement of his piano sonata, op. 66, as well as to the strength of endeavour dominating the first movement. Animating the book is an objective analysis of cause and effect, mental processes which, directed into musical channels, may explain his subtle command of tone-colour. It is thus, one feels, he chooses sensitively effective, though often unusual, notation to express himself musically.

Watson Lyle Modern Composers XII-CYRIL SCOTT The Bookman, November 1933, p.115ff

Notes

[1] Cyril Scott was born at “The Laurels,” Oxton, Birkenhead, on 27 September 1879. It is commemorated with a Blue Plaque.

[2] The other member of the Frankfurt Group or Gang was H. Balfour Gardiner. They studied composition under the German composer and music teacher, Iwan Knorr (1853-1916).

[3] The Cyril Scott Net explains that Childishness: A Study in Adult Conduct (1930) explores the ways in which immature behaviour manifests in adulthood, examining its ethical and psychological implications.

To be continued…