Reginald Redman (1892-1972)
Mist on the Moors: The Piano Music of Reginald Redman
Duncan Honeybourne (piano)
rec. 24 September 2025, Wyastone Concert Hall, Monmouth, UK
Heritage HTGCD 121 [78]
Thirteen years have flown since I evaluated the British Music Society’s British Composer Profiles for MWI. I remember choosing at random the entry for Reginald Redman, a composer I had never previously encountered. I discovered that he had written a piano concerto, a cello concerto, three operas, two ballets, a substantial body of orchestral music, incidental scores and chamber works. His numerous vocal works drew on West Country themes, alongside humorous songs, Chinese settings, carols and anthems. He wrote piano pieces and arrangements for small ensembles. It struck me then that this volume functioned as a kind of “Book of Dreams”, inviting readers to turn its pages and imagine the unheard. I ended my review by wondering what Redman’s music might sound like. I suggested that one day someone would be inspired to find out.
Pianist Duncan Honeybourne has come to the rescue with a delightful album of piano miniatures by this forgotten composer. Sadly, there is precious little information about Reginald Redman on the Internet or in reference books. That BMS volume manages a single paragraph, and there is no mention whatsoever in Grove Music Online. Philip Scowcroft of this parish came to the rescue with a page-long discussion; he devoted over 500 words to Redman. I am also beholden to Honeybourne’s liner notes.
Synthesising these texts gives a brief but essential biography. Reginald “Rex” Redman was one of the BBC’s most accomplished regional conductor‑composers. Trained at the Guildhall School, he joined the Western Region of the BBC, founding the West Country Studio Orchestra and West Country Singers. Though small and confined to light repertoire, the orchestra flourished under Redman and successors John Bath and Frank Cantell. As noted, Redman was a prolific composer: people especially admired his light orchestral music which included picturesque titles like Marston Court, From a Moorish Village, Pan’s Garden, West Country Suite and Away on the Hills.
The album is not designed for a continuous sitting.Most of the tracks are short, two or three minutes. The longest work, the Three Preludes, last for more than a quarter of an hour. The pieces tend to blur. Select a title that appeals and enjoy.
The recital opens with the impressionistic Mist on the Moors evoking the landscape of Bodmin or Dartmoor. I am not sure what the mysterious Cornish Legend is referring to. There are so many to choose from. But surely it is a secret well kept. There is a sense of the tricksy about the Arabesque, with its improvisatory freedom. Honeybourne notes that La Nuit seems to be “alternating touches of Chinese music with that of church music”! The Lyric Piece may nod towards Edvard Grieg: it is a charming little number.
Once again Redman looks to Asia with his perfumed The Mystic Garden. It is a thoughtful nocturne. The Graceful Dance is just what it says on the tin: slightly Baroque in tone. Hardly a lullaby, the Cradle Song is more complex in mood and technique than its title suggests. A fantastic seascape is created with On the Cornish Coast, which has all the stormy drama of Greville Cooke’s Cormorant Crag; this is one of the best pieces on this disc. The Great God Pan is evoked in his quieter mood in The Lonely Faun, buthe becomes a little more playful in the central episode. Gossamer lives up to its title – it is delicate and ethereal.
Three of these miniatures appeal to children of whatever age. The Lullaby for a Kitten is deliciously sentimental. There follows Deep in the Woods which is more about a “Famous Five” adventure rather than a psychodrama. Finally, Children at Play is pure salon music that conjures games, chases and hide-and-seek.
In Changing Moods is fun. Moving between whimsy and reflection, it is well-wrought with lovely tunes and subtle harmonies. In a Gondola and Venetian Barcarolle paint an enchanting picture of La Serenissima. They should be played as a set.
Reginald Redman’s Song of the Fountain is not as elaborate as Ravel’s Jeux d’eau or Franz Liszt’s Les jeux d’eau à la Villa d’Este.It is moreof a little water-feature in a Home Counties garden. The short Humoreske is a piece of two parts: vivacious in its opening and closing, with a lyrical trio section. It is not necessarily humorous in the modern sense, but touched with wit, grace and a gentle eccentricity.
Honeybourne explains that the most substantial work here, the Three Preludes, remained in manuscript in the Redman Archive at the University of Bristol until he discovered them in 2024. Clearly influenced by the then-contemporary French school and possibly Cyril Scott, they are each accompanied by a “descriptive French title and verse”. The first, which makes intensive use of the whole-tone scale, evokes the Wind through the Reeds by a “quiet little lake, at night”. The reeds are clearly talking to each other. The second imagines In the Glade of the Will-o’-the-Wisps, once again using synthetic scales: it has a decidedly impressionistic feel. The final Prelude creates the mood of The Desert at Dawn. It begins lugubriously, and then conjures “Light Streams forth in a supreme ripple – and it is day.” There is no indication where the texts were garnered. The entire cycle is a gem which demands acceptance into the repertoire.
The final tracks present two discrete versions of the Welsh folksong Ar Hyd y Nos – All Through the Night. The liner notes explain that prior to 1936 the West Country Studio Orchestra served both Welsh and West Country audiences. The first iteration was conceived as a signature tune for the station. Characteristically democratic, Redman wove together two melodies – All Through the Night and the old West Country tune, Admiral Benbow. At seventy-eight, Redman decided to revisit his earlier effort, adding a brief Prelude and Postlude. It is a touching nod to his long-standing affection for Wales and the West.
It should be noted that those who choose to download or stream can access additional tracks, including At the Opera (1935) and In Amberley Vale (1925).
British pianist Duncan Honeybourne is noted for his deep sympathy with British and Irish repertoire, and for his championship of neglected music. He has explored a wide range of “forgotten” composers including Greville Cooke, Geoff Cummings-Knight, Archy Rosenthal and William Baines.
The disc gives long‑neglected Reginald Redman a toehold in the recorded legacy. These miniatures, by turns atmospheric, whimsical and deeply felt, are played with characteristic warmth, sincerity and imagination.
John France
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Contents
Mist on the Moors (1926)
A Cornish Legend (1922)
Arabesque (1923)
La Nuit (1924)
Lyric Piece (1924)
The Mystic Garden (1924)
Graceful Dance (1924)
Cradle Song (1924)
On the Cornish Coast (1924)
The Lonely Faun (1926)
Gossamer (1922)
Lullaby for a Kitten (n.d.)
Deep in the Woods (n.d.)
Children at Play (1924)
In Changing Moods (1924)
In a Gondola (1924)
Venetian Barcarolle (1924)
Prelude I Vent à travers les Roseaux (Wind through the Reeds) (1918)
Prelude II Dans la Clairière des Esprits Follets (In the Glade of the Will-o’-the-Wisps) (1918)
Prelude III Le D sert au Point du Jour (The Desert at Dawn) (1918)
Song of the Fountain (1924)
Humoreske (1927)
All Through the Night (earlier version) (n.d.)
All Through the Night (later version) (1970)
