Romance and Reverie: Holst and his contemporaries
rec. 2024, Ruddock Performing Arts Centre, Edgbaston, Birmingham, UK
Albion ALBCD065 [79]
The repertoire in this programme “is based on chamber works written or arranged for violin with either voice or another instrument, by Holst himself and four composers who were contemporary with him – with a focus on neglected works but including a new arrangement of one very popular piece.”
Appropriately for the sesquicentennial anniversary of Gustav Holst’s birth, three of his works appear here, in slightly different versions. Invocation was first conceived for cello and small orchestra, and he later arranged it for cello and piano. Violinist Hannah Roper devised the present edition for violin and piano. Even though Holst was busy with his Rig Veda settings at that time, the overall impression is one of Englishness – and possibly ascending larks! The original title, A Song of Evening, suggests that it may have been deemed a companion piece to A Song of the Night, also heard in this recital. The latter, scored for violin and small orchestra, is heard here on violin and piano; I do not know if this is in Holst’s hand. It does not offer an evocation of England, but something more mystical and nodding to India.
Holst dedicated Lyric Movement for viola and small orchestra, one of his final compositions, to violist Lionel Tertis. Once again, Hannah Roper arranged it for violin and piano. This nocturnal piece presents shifting harmonies, clear textures and soaring melodies. It is not austere, but neither is it a pastoral rumination. Imogen Holst considered it to be one of her father’s finest works.
William Yeates Hurlstone showed remarkable musical talent from an early age. He died early, and left behind a small but excellent body of work. His catalogue includes the Variations on a Swedish Air, a Piano Concerto, the Magic Mirror Suite, an important Piano Sonata in F minor, and the Cello Sonata in D.
The liner notes say that the Four English Sketches are “miniatures which paint almost idyllic musical portraits of English country life, like scenes on a Royal Worcester porcelain dinner service.” Certainly, there is an inherent innocence here. The Pastoral is more Edward German than RVW, whilst the Caprice has a beautiful ‘big tune’ in the middle eight. Romance is melancholy but ending enigmatically: a story rather than a love affair? The finale, A Revelry, is the most technically demanding of the Sketches, bouncy and playful. Hurlstone has introduced a bit of a fugal passage in the Trio section.
Hurlstone’s two other pieces here are Revery and Romance. I like the programme notes’ suggestion that they have a “charming sepia-toned quality”. They are much deeper and profound than the Sketches. The notes do not say that these two numbers would appear to be part of Three Pieces for violin and pianoforte (the third was Intermezzo). The manuscript carries a date of 12 August 1894 for one of them.
Rebecca Clarke’s quixotic Midsummer Moon echoes Claude Debussy and Ralph Vaughan Williams. It is just a little bit eclectic in its stylistic integrity, but she has managed to express an entire range of emotions, from playfulness to the dream-like magic of a warm summer’s night.
Clarke’s Three Irish Country Songs, scored for soprano and violin, are based on folk tunes. I know my love utilizes a delicate counterpoint between the soloists. I know where I’m going is a gentle rumination on love sullied by her sweetheart Johnny’s bad reputation. As I Was Goin’ to Ballynure is a good old Irish romp. There is a wonderful violin obligato here.
Ethel Barns was an English violinist, pianist and composer. Her Valse Caprice is virtuosic, with nods towards the Polish violinist and composer Henryk Wieniawski. This involved piece sounds very English despite the French title. Barns’s Lament, also called Chanson Indienne, is a complex mood picture, drawing on Indian scales with nods to modalism.
I first heard The Lark Ascending in the Bean/Boult 1972 version (HMV ASD2847). It has been my go-to recording since then. Despite listening to harpist Valeria Clarke’s arrangement twice in the preparation of this review, I am not convinced. The liner notes say: “With the carefully considered addition of extended techniques for harp, the music takes on a feel which can only be described as even more English, with the folk inspiration for the melodies and harmonies on clearer display through the recognisably ancient timbre of the harp.” To be sure, this faithful account of an ever-popular work deserves to be successful. It is just not for me.
Chris Cope, Hannah Roper and John Francis supply helpful liner notes. There is background on the composers and brief notes on the repertoire. The booklet is illustrated with publicity shots of the recitalists and photos of the composers. Brief biographies of the performers are given. The cover picture appeared previously on Time and Space (ALBCD038).
I cannot fault the performances. Hannah Roper and pianist Martin Jacoby do the heavy lifting. They are ably assisted by Valeria Clarke and soprano Emma Tring. The playing is always sympathetic and well balanced. Rebecca Clarke’s song are sung with clarity and imagination, without an exaggerated Irish accent.
It is useful to have these relatively unknown works, especially those by Rebecca Clarke, Ethel Barns and William Hurlstone. The three arrangements of Holst’s early concerted pieces are a valuable contribution to his birthday honours. Listeners will make up their own mind about the latest incarnation of The Lark Ascending.
John France
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Contents and performers
Gustav Holst (1874-1934)
Invocation for violin and piano (1911), arr. Hannah Roper
William Hurlstone (1876-1906)
Four English Sketches for violin and piano (publ. posth.1910)
Rebecca Clarke (1886-1979)
Midsummer Moon for violin and piano (1924)
Ethel Barns (1873-1948)
Valse Caprice for violin and piano (1894)
Hannah Roper (violin), Martin Jacoby (piano)
Rebecca Clarke
Three Irish Country Songs for soprano and violin (1926)
Emma Tring (soprano), Hannah Roper (violin)
Gustav Holst
A Song of the Night for violin and piano (1905)
Hannah Roper (violin), Martin Jacoby (piano)
Ralph Vaughan Williams (1872-1958)
The Lark Ascending for violin and harp (1914), arr. Valeria Clarke
Hannah Roper (violin), Valeria Clarke (harp)
William Hurlstone
Revery and Romance for violin and piano (c.1894)
Ethel Barns
Lament (?)
Gustav Holst
Lyric Movement for violin and piano, (1933), arr. Hannah Roper
Hannah Roper (violin), Martin Jacoby (piano)
