Finger Prints
Paul Guinery (piano)
rec. 2024, St John the Evangelist Church, Oxford, UK
EM Records EMRCD088 [70]
There is an old Viennese adage: “take serious music lightly and light music seriously.” You will find here an eclectic selection from a wide cross-section of composers, among them “classical” masters such as Frank Bridge, John Ireland, Roger Quilter and Lennox Berkeley. They knew how to cross the boundaries between art music and a more popular touch.
The recital gets off to a great start with Harry Engleman’s Finger Prints. This epitome of the novelty piano solo was made popular by Billy Mayerl (more of him soon) and the American Zez Confrey. Later in the programme, we hear Engleman’s Golden Chain, another challenging piece for “dizzy fingers”.
Haydn Wood may be remembered for his First World War hit, Roses of Picardy. Capable of working in light and classical genres, he wrote accomplished piano and violin concertos, as well as attractively evocative orchestral suites. Longing is delightfully sentimental, poignant, at times passionate and always engaging. It reflects well the emotions of wartime lovers.
I enjoyed Cecil Macklin’s The Cockney Crawl. Phyllis Monkman and Clyde Cook danced it first at the Alhambra Theatre, London. Basically, it is a one- or two-step with knobs on!
Light-music enthusiasts will know Jack Strachey’s In Party Mood. For many years, it was the theme tune for the radio programme Housewife’s Choice. Also popular is his Theatreland, reminiscent of London’s West End. Anna’s Polka, a lovely little number on the programme here, combines the Bohemian dance of the title with a beguine. Pianist Paul Guinery adds a little quirky magic of his own in the concluding bars.
When I inherited my late grandparents’ upright, there was a copy of Amy Woodforde-Finden’s Indian Love Lyrics in the piano stool. I struggled to battle my way through the Kashmiri Love Song from an early age, never quite getting it right. The mood of lost love, nostalgia and despair is seen through the eyes of an Edwardian lady’s enthusiasm for things Oriental. We hear it here in Stephen Hough’s transcription.
The English pianist and composer Billy Mayerl was popular in the 1930s. He may be best remembered for his syncopated novelty piano solos like Marigold and Bats in the Belfry. His music was “highly crafted”, often cunningly difficult to play, and always entertaining. The programme includes the arrangements of four songs which the British-born songwriter Harry Revel wrote for Hollywood. Most popular may be the jazzed-up version of Did You Ever See a Dream Walking? Equally attractive is I Feel Like a Feather in The Breeze with its lush opening and bouncy middle sections.
With My Eyes Wide Open I’m Dreaming appeared in a film about a successful nightclub singer and radio star. Once again, Mayerl creates a balance between a slow foxtrot and an up-tempo section marked “with much rhythm”. The fourth transcription is the well-crafted You Hit the Spot from the 1936 film Collegiate. There is also Meyerl’s own composition, The Shy Ballerina. It is a wistful celebration of a bashful girl who was asked to dance for Mayerl, but “nothing would persuade her to pirouette for him”. All pieces are marked by rhythmic dash, memorable melodies, abundant caprice and a touch of sheer sentimentality.
Edward German, an English composer of Welsh descent, is known for his extensive output of incidental music for the stage. His light operas, including Merrie England, hold a place still in the repertoire. German also wrote symphonies, orchestral suites and some piano pieces. The Polish Dance nods to tChopin’s Mazurkas, and is none the worse for that. It balances high spirits with more reflective moments.
Frank Bridge’s Berceuse was dished up in several editions, including versions for small orchestra, violin or cello and piano, violin and strings. A late addition in 1929 was a piano solo. This exquisite lullaby has a delicate, calming tune that perfectly lives up to the title. In true Frank Bridge fashion, it transcends the boundaries of mere salon music, revealing layers of subtlety and elegant craftsmanship.
Cinema pianist and broadcaster Jack Wilson wrote two of the works on this disc. Phantom Fingers ticks all the boxes of “novelty, syncopated or rhythmic piano solos”. It is his only published piece. The second, still in manuscript, is the undated Shadows on the Moon. It fairly swings along, and there is little gloom in these pages.
John Ireland’s Cavatina has had numerous incarnations. Originally produced for organ and for violin and piano, it “shows that Ireland had a gift for melody in the style of say Elgar’s Salut d’amour or Chanson de Matin”.
Peggy Cochrane, an English musician, singer and composer, played violin and piano. Busy Day comes from her time as rhythm pianist. This lively item highlights a jazzy left hand and a delightful, almost mischievous, flurry of notes in the right hand.
Roger Quilter may be remembered for his incomparable songs, and he penned a few pieces for piano, including Three Studies and Three English Dances. The present Country Dance is from incidental music for the 1921-1922 Old Vic production of Shakespeare’s As You Like It. The Graingeresque piece uses “off beat rhythms” and “teasing counter melodies”.
People usually think of Arthur Sullivan as half of the Gilbert and Sullivan duo. In recent years, his music other than Savoy operas has gained a hearing, especially in the recording studio. He wrote little for piano, just nine original pieces published in his lifetime. The two Thoughts, clearly indebted to Felix Mendelssohn, are full of melodic charm and pianistic delight.
One surprise is Lennox Berkeley’s Java, a parody, originally part of an unrealised ballet score. There are lots of wrong notes and chords here (think Les Dawson!), and a good impression of the salacious dance that was the rage in post-war Paris in 1919. Composer, historian and pianist Peter Dickinson made the arrangement here.
The final number in this charming programme is Richard Addinsell’s Blithe Spirit Waltz from the 1945 film Blithe Spirit starring Rex Harrison, Kay Hammond and Constance Cummings. The supernatural black comedy was derived from Noel Coward’s stage play. The waltz is a wonderful evocation of the first wife of Charles (played by Rex Harrison), Elvira (played by Kay Hammond), who is summoned at a seance.
The booklet is a model in design. After a brief outline of each composer, listed alphabetically, there follow succinct yet clear comments on each work in batting order. Illustrations of sheet music covers add value. There is a note on the soloist.
This is the third disc in Paul Guinery’s exploration of light music classics. He released Dicky Bird Hop in 2020 (review~ review), and Chasing Moonbeams in 2022. His tremendous playing, an outstanding recording and splendid packaging contribute to the success of this release. Guinery plays each piece with love and enthusiasm, and is never condescending. That is how light music ought to be performed.
John France
Previous review: Nick Barnard (August 2024)
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Contents
Harry Engleman (1912–2002)
Finger Prints (1936)
Haydn Wood (1882–1959)
Longing (1917)
Cecil Macklin (1883–1944)
The Cockney Crawl (1914)
Jack Strachey (1894–1972)
Anna’s Polka (date unknown)
Amy Woodforde-Finden (1860–1919)
Kashmiri Song (1902) (Trans. Stephen Hough, b.1962)
Harry Revel (1905–1958)
Did You Ever See a Dream Walking? (1933)
I Feel Like a Feather in The Breeze (1936)
Edward German (1862–1936)
Polish Dance (1891)
Harry Engleman
Golden Chain (1937)
Frank Bridge (1879–1941)
Berceuse (1901)
Jack Wilson (1907–2006)
Phantom Fingers (1934)
John Ireland (1879–1962)
Cavatina (1904)
Peggy Cochrane (1902–1988)
Busy Day (1941)
Harry Revel
With My Eyes Wide Open I’m Dreaming (1934)
You Hit the Spot (1936)
Roger Quilter (1877–1953)
Country Dance (1920)
Arthur Sullivan (1842–1900)
Thoughts, op.2 No.1-2 (1862)
Jack Wilson
Shadows On the Moon (date unknown)
Billy Mayerl (1902–1959)
Shy Ballerina (1948)
Lennox Berkeley (1903–1989)
Java (1932), transcbribed by Peter Dickinson (1934-2023)
Richard Addinsell (1904–1977)
Blithe Spirit Waltz (1945)
Harry Revel’s pieces have been transcribed by Billy Mayerl.
