Early One Morning in Kensington
Gilberto Fornito (flute), Christopher Howell (piano)
rec. 2023 Studio of Griffa e Figli, Milan, Italy
Da Vinci Classics C01086 [69]
More than fifty years ago, when I fondly and mistakenly imagined that I might become a composer, I found in a second-hand bookshop in North Wales a remarkable set of books about composition by Ebenezer Prout. I invested in them, and still have them, sad to say largely unread. He is a name that drifts through the history books. This English musicologist, critic, composer and teacher with a Dickensian name has precious few recordings to his credit. There are a CD of the Clarinet Sonata and a YouTube video of his Symphony No.4: not much to support an appreciation of his achievement.
Prout’s Sonata in A major for flute and pianoforte dates from 1882 but, as the liner notes correctly point out, there is nothing here that could not have been written fifty years earlier. The models for this essay would include Haydn and Schubert, but hardly Mendelssohn. After an imaginative opening Allegro con anima, the flautist and pianist engage in a Romanza, an operatic “scena” which is the most rewarding part of this Sonata. The final Rondo is a delight. This music is not dry as dust, as may be expected from a pedagogue. It is charming, often light-hearted and downright enjoyable.
Frederic Archer was a British organist, conductor and composer who in 1895 founded the Pittsburgh Symphony Orchestra. His undated Duo Concertante for flute and pianoforte is a genuine dialogue between equal partners. Although completed around the same time as Prout’s Sonata, the piece feels more modern and timeless.
The most important work here is Edward German’s delightful Suite for flute and piano. For those who decry English Victorian music, this is a revelation. To be sure, there are hints of Arthur Sullivan and even Elgar. I have noted earlier one or two intimations of Malcolm Arnold in the opening Valse gracieuse and elsewhere! The heart of the Suite is the Souvenir with considerable depth and regret. Was it a love song? I like the final Gypsy Dance. This pure invention has no relation to Romany melodies and rhythms; it appears to be a tongue-in-cheek caricature. It is fun.
German’s Romance, Intermezzo and Saltarello, all for flute and pianoforte, could be construed as another Suite. The three numbers go well together and make a satisfying whole. The first two pieces are a subtle balance of “wistful charm” and moments of “greater passion”. The Saltarello, which Christopher Howell informs us is really a Tarantella, is a barnstorming energetic dance. It makes a good finale to the “Suite”, and would make a splendid encore.
The Old English Melody is a spin-off from German’s 1901 incidental music to English Nell, a play by Anthony Hope, author of The Prisoner of Zenda, and Edward Rose. German derived a concert overture and three dances from the score. Significant use of the tune Early One Morning appears in the overture. It is replicated in the present offering, but is more thoughtful.
Edward German’s Savoy Opera A Princess in Kensington has a complex and wayward plot. It could be summed up as a story of English fairies protesting a royal marriage between Princess Zara and Prince Albion, who fear it will end their reign. They enlist Puck and mischievous spirits to sabotage the union, but love prevails. The opera blends Edwardian fancy with folklore, fantasy and comic charm. It was never deemed as successful as Merrie England or Tom Jones. I was unable to find a recording of the full stage work.
The mysterious composer Henri Leclaire (was this a pseudonym?) wrote a Fantasia on Themes from this operetta. He uses a couple of hit numbers, including Seven o’clock in the morning and the hornpipe He was a simple sailor man. It ends with a “vivacious coda”. This pleasing novelty could easily find a place in the flautists’ repertoire, but I doubt that the opera will be revived any time soon.
The playing by flautist Gilberto Fornito and pianist Christopher Howell is sincere and never patronising. The recording is first-rate. Howells’s excellent liner notes give all the detail needed to enjoy this interesting repertoire.
This entertaining disc explores rare English flute and piano music. Prout’s Flute Sonata, though stylistically conservative, has charm and operatic flair. Archer’s Duo Concertante offers a more modern sensibility, while Edward German’s Suite and companion pieces blend Victorian elegance with wit, pathos and dance-like vitality.
John France
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Contents
Ebenezer Prout (1835-1909)
Sonata in A major for flute and pianoforte, op.17 (1882)
Frederic Archer (1838-1901)
Duo Concertante for flute and pianoforte (?)
Edward German (1862-1936)
Suite for flute and pianoforte (1892)
Romance for flute and pianoforte (1892)
Intermezzo for flute and pianoforte (1894)
Saltarello for flute and pianoforte (1889)
Old English Melody (“Early One Morning”) for flute and pianoforte (1901)
Henri Leclaire (late 19th century)
Fantasia on Themes from Edward German’s Savoy Opera A Princess in Kensington (1903)
