The music of the late Harold Truscott: an excavation report
by Guy Rickards
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When Harold Truscott died, on October 7th,1992, his reputation as a composer
lay in the main on his series of seventeen piano sonatas, ten of which had
been issued on LP or cassette1, and a few other
instrumental pieces. Although a tireless explorer of some of the deepest
backwaters of the Classical tradition and champion of much of what he found
there, Truscott was reticent about his own music. He made little effort to
promote it, not even bothering to register with the Performing Rights Society
(something which has now been rectified). While active as a pianist from
the 1930s on, he never became a full-time professional player. He did broadcast
occasionally on the BBC Third Programme (or equivalent) in the late 1940s
and 1950s, recitals which included one of his own piano
suites2 and several of his completions of Schubert
sonata movements. When he earned a living from music it was as a teacher,
commencing in the late 1930s and culminating with his appointment in 1970
as Principal Lecturer at Huddersfield Polytechnic (now University, where
an annual Harold Truscott Prize for post-graduate studies has been established
in his memory)3. His broadcasting career followed
suit, he becoming well known not as a practitioner but as one of the most
erudite of commentators - so much so in fact, that his acclaimed talks on
the late Beethoven string quartets were expanded to form a book, published
by Dobson in 1968. Despite being a prolific writer on music, with contributions
to a legion different journals, magazines and symposia over the years, he
only published one other volume, on the orchestral music of Franz Schmidt
for Toccata Press (1984, intended as the first in a set of three on the Austrian
composer; sadly, neither of its companions were completed).
In early 1993, Margaret, Truscott's widow, asked me to sort through his papers
in order to secure the original manuscripts and arrange for the disposal
of his huge collection of printed music, with which his own compositions
had become chaotically mixed up. It was a mammoth task, requiring six man
days of effort merely to sift through the piles of paper located in drawers,
cupboards and boxes, without much time for prolonged scrutiny of individual
items being unearthed. As my guide, I had the list of compositions drawn
up as part of the programme book for the two 75th birthday recitals at the
British Music Information Centre in October 1989 (the sole major review of
which appeared in Tempo 171). This was based on a definitive list made by
the composer in the mid-1980s and listed 44 completed
works4, including a Symphony, Suite and Fantasy
for orchestra, nearly 30 sonatas for various combinations, plus songs,
instrumental pieces and a Trio in A major for flute, violin and viola, the
only substantial item of chamber music. Seven other works, including two
symphonies in A minor, two concertos, a Suite for strings and two sonatas,
were known to be in various stages of incompleteness, with the Sixteenth
Piano Sonata undergoing major revision. Since the earliest listed opus dated
from June 1945-Piano Sonata No. 1 in D flat-when Truscott was 30, I was hopeful
of finding much else besides, not least because he had admitted to starting
composing considerably earlier. Indeed, in several of his writings he had
alluded to the existence of other works, for example the piano suite precursor
of the Sixth Sonata, or the Trio's third movement ("Elegy"), which had originated
as part of a Duo for violin and viola, or-most tantalising of all-the series
of piano sonatas written "in the style of late Beethoven" from the 1930s
and early 1940s. The anticipation of locating a lost or hidden opera, string
quartet5 or symphony compelled me to drive the
hundred miles to Deal, but I had little idea of the riches that I would find.
(i) The Worklists
One of my first discoveries was a set of four extra worklists, all of which
pre-dated that from the mid-1980s, giving considerable information about
works not previously known to exist (but which I had already begun to find).
The earliest list ("A") was in fact a photocopy of a heavily amended
dictionary-style catalogue made at the latest early in 1966 by a friend of
Truscott's, Lawrie Burton. This dating is attested by the presence of scores
known to have been composed later in that year, e.g. the orchestral Suite
in G major, as handwritten additions to the typed original, and by the typed-but
ironically inaccurate-completion date for Piano Sonata No. 11 as 1966 (it
should have been 1964). "A" set the tone for its successors in its selective
inclusions and omissions: Piano Sonatas Nos. 1-11 were present as expected,
but none of the three for Clarinet, the first of which at least should have
been present given its composition date of 1959 and public performance with
the composer as accompanist in 1960! Another work missing from "A" which
had reached the public ear was the string orchestral Fantasy (1960), originally
entitled A window on infinity. These and other omissions were later
rectified by hand, probably on several separate occasions. More remarkably,
"A" listed four numbered symphonies, with the only previously known example
in E major entered as No. 2. I had seen the bound full score of this
three-movement work while Truscott was still alive; there is no title page
and it is embossed on the spine "Symphony No. 1 in E minor" (my itals),
although manifestly in the major key. Lawrie Burton's list confused matters
further since his No. 1 was indeed in E minor, dated 1945-51 but in one
continuous movement, unlike the E major. This earlier symphony was located
and proved to be a quite separate composition, of which more below. Appended
to "A", also as a photocopy, was a very roughly written list containing
indications of works either in progress or in planning, including sonatas
for piano (Nos. 12-18), cello, cor anglais and horn which all eventually
materialised, and one for double-bass which did not.
The second worklist ("B") is rather fuller and was made by Truscott himself,
probably early in 1968. The Fourteenth Piano Sonata, completed in June 1967,
is present as a typed entry, but the never-finished Suite for Solo Clarinet,
dated here 1968, had been added in ballpoint. "B" cannot be counted definitive,
however, since several of its datings are at odds with the finished manuscripts
and, while listing two early symphonies from the mid-1930s and several later
ones "in various stages of progress", omits the E minor Symphony numbered
1 in "A". (Truscott did not here, nor ever again in any other of his own
catalogues, number his symphonic projects). The completed Symphony in E major
is described as being in "E major-C sharp minor", not inaccurately given
its internal processes, but with a date of 1955!6
The 1965 Oboe Sonata is also incorrectly shown in "B" as having been
written in 1966-7. (In a later addition, "A" gave this as 1969!) One possible
cause for these discrepancies may be due to Truscott's having compiled the
list relying on either rough notes or memory, but away from the manuscripts
themselves so that details could not be checked.7
New works not previously known about were more-or-less accurately indicated,
such as three early piano sonatas "written around 1940" and a string quartet
in B flat minor "all now discounted", two more quartets in E minor (1943-4)
and C minor (1947)8, 4 Preludes and Fugues for
solo violin (1946; see section viii below), an Organ Sonata in C, songs and
choral pieces, a Suite for wind band (1965), another "Fantasy" for string
orchestra (1944), plus two concertos from around 1934, added by hand as "written
in short score, neither orchestrated", and the Overture to an opera,
Falstaff, "of which only fragments were composed".
The third worklist ("C") is an abbreviated one, part of a typed, dictionary-style
biography, made at some time between Truscott's retirement (his tenure as
Principal Lecturer recorded as 1970-9) and 1984, when his Schmidt book -
omitted here - was published. It is possible that "C" was drafted in preparation
for this new publication. If the "18 piano sonatas" are taken to mean those
that Truscott numbered, a date of 1981 is the earliest possible, allowing
for Sonatas 16-18, all begun that year.9 "C"
was found filed in the bound orchestral score of the Symphony in E major,
which is also absent from the list as first typed! As with the Suite in G
major, the Symphony was added later by hand. Another curious mistake was
the description of the Trio in A major as "for flute, viola and piano
(broadcast)". The Trio was indeed relayed by the BBC, on April 25th., 1955,
in its only known incarnation for flute, violin and viola, an instrumental
combination directly suggested by Reger's two serenades. No trace of an
alternative arrangement has otherwise been found.
The final new worklist ("D") was a handwritten one, made by the composer
before 1985 (the year of composition of the solo cello Meditation on themes
from Emanuel Móor's Suite for 4 cellos, which is not included).
The typed worklist that I already had in my possession ("E", therefore) drew
heavily on "D", which should be considered its direct ancestor.
(ii) The Writings
As if these new worklists, with their contradictory dates and hints of a
rather wider compositional haul than I had hitherto imagined, were not enough,
there was a large collection of documents which contained a considerable
selection of Truscott's writings. Many of these were on matters musical,
often drafts for published articles. The largest were two unpublished books,
Schubert and the piano, completed in the early 1950s but intermittently
updated since, and another on Beethoven's Ninth Symphony. Quite
unexpectedly though, I uncovered a by no means insignificant batch of short
stories (several of them completed), unfinished novellas, essays on non-musical
topics - and an autobiography. This last document, entitled Laughter in
the dark (it is unclear if any link with Nabokov's novel was intended),
would prove to be of inestimable importance to the Truscott story. The typescript
is incomplete, breaking off after over 150 pages at the foot of the page
in mid-sentence. I have not unearthed any handwritten version, so whether
there is more of it to be found, or he simply stopped writing - or typing
- it I cannot now determine. The autobiography covers his not uneventful
life up to the early years of the Second World War. It is not a straightforward
telling of his tale, following some subjects through to their conclusion
across many years, even touching on events in the 1950s.
Truscott commenced writing Laughter in the dark in 1977 or 1978 when
he was 63 years old; details - particularly dates - of works referred to
within it need to be treated with caution since, as with his worklists, they
do not always tally with the manuscripts as eventually located. However,
it is evident that Truscott began composing when he was about 12 or 13 years
of age, his earliest efforts being small piano pieces and songs (one of the
latter, a setting of Robert Louis Stevenson's Under the wide and starry
sky, survives with the title Requiem. It was penned in 1928, in
which year Truscott was 14). He had been born into a working-class family
in Seven Kings, Ilford, Essex, on August 23rd., 1914, with a club foot.
Corrective surgery at the age of three months proved successful but Truscott
had still to wear a hip brace and have his leg massaged twice daily until
he was 12. His vast knowledge of music, the thirst for which may have been
a compensation for his exclusion from sports, was a tribute to the public
lending-library system, which he systematically scoured over many years.
In order to learn scores from the inside, he would often write them out himself,
a habit he retained throughout his life10. This
may have had one early traumatic consequence-the autobiography reveals that
Truscott's father, with whom the boy Harold never enjoyed an easy relationship,
was hostile to his son's intense interest in music. At first, Ernest Truscott
refused to accept that his budding composer son (not yet sixteen) was composing,
holding to the view that no-one was writing Classical music in 1930. He believed
Harold was lying and merely copying the works of dead masters, which he had
no doubt seen him do before. The absence of any source score when Harold
was writing out his own inventions may have led Truscott senior to think
this was some unnatural - and unnerving - feat of memory. In any event, he
regarded this precocious talent as a sign of mental illness and found a doctor,
presumably a psychiatrist, prepared to endorse this view. A rest cure was
prescribed at what can only be described as an asylum ward in a local hospital
(in Romford). What damage this temporary commital had on the adolescent Harold
is incalculable; it may explain his later sensitive and guarded attitude
to his own work. It did not stop the boy composing, though, since the ward
nurses kept their charge happily supplied with manuscript paper during his
three-month-long stay! Ernest Truscott realised too late his mistake, and
his offer of restitution to fund his son's further education was
refused11.
Musically, Truscott taught himself in the main, although there were periods
of study at the Guildhall School of Music, part-time, in 1934 (piano, with
Orlando Morgan), and the Royal College of Music in London during 1943-5,
again on a part-time basis, mainly for instrumental tuition (piano, with
Angus Morrison, and horn, with Frank Probin). His studies at the Royal College
brought him into contact with Herbert Howells (1892-1983) from whom Truscott
received instruction in composition as part of the instrumental course. Spells
working on board ships of the line for the New Zealand Shipping Co. as pianist
and leader of a light-music combo, also gave him valuable practical experience.
He worked for two years as a music teacher before the Second World War but
gave this up in December 1939 to work for the Royal Mail (having been declared
unfit for military service), on near constant night shift until resigning
in 1948 to resume teaching.
The last major find amongst this collection of papers was a set of over 50
letters to Truscott from the composer Havergal Brian (1876-1972). They cover
a wide variety of topics, both musical and non-musical, although unsurprisingly,
Brian's own works are the primary concern. (The letters have been serialized,
in transcriptions made by the present writer under the title "From Hitler
to Horticulture", in the Newsletter of the Havergal Brian Society during
1993-4.) Truscott's side of the correspondence seems not to have survived.
Later on, as the two men came to know each other better, references to the
junior partner's music appeared, most notably in a letter of February 25th.,
1958, where the elder composer offered some advice:
These Sonatas of yours somehow remind me of Bach
and Brahms [something unreadable which could be idioms, although the sense
suggests 'in idiom'] a healthy sign. The music is after my own heart, impulsive
and unhesitatingly fluid. I offer no criticism for - "It is easier to be
critical than to be exact." I admire the smooth skill of the inverted melodies
... You seem most attached to the C major [i.e. the single-movement Seventh
Sonata (1956), dedicated to Brian]. I have spent some time on the B minor
[i.e. the Fifth (1951-5), in memoriam Nikolai Medtner] with its thunderous
first movement. Do you think - at foot of page 17 the passage to the Poco
Allegretto is abrupt? I suggest interpolating a bar of rallentando to liberate
the mind. Middle of page 23 - 3rd section [&c] reminds me of Brahms (&
I think it is slow movement of No. 3) [presumably Brahms' Symphony no. 3
in F]. On page 28 Poco Allargando - does that bass figure lose effect by
its repetition. I put a pencil suggestion and also on page 29. A four note
figure is often made more emphatic by the elision of the first or fourth
note. This movement is big stuff. Of the II-4. [i.e. the remaining three
movements of the Fifth Sonata-movement 2 indicated by Roman II, the finale
by Arabic 4] I should mark it pp throughout like a closed swell on the organ
and only gradually open the shutters to mf the middle of page 32 & closing
to pp before entering the finale. I appreciate the dedication of the C major
- but - I am not a lucky person. What I have written about the influential
idioms & manipulation of your technique applies to this extension in
one movement. It is a tour de force.
Brian's remarks on the Fifth Sonata are at first sight contradictory. The
passage referred to on p. 17 is the close of the first movement (the Poco
Allegretto being the marking for the second movement which starts at
the top of p. 18 and concludes with the Poco Allargando on pp. 28-9);
as a master of the abrupt himself, it is curious that Brian should criticise
Truscott for a lack of transition, especially between the end and beginning
of clearly distinct movements. The music of pp. 23, 28-9, followed by "This
movement is big stuff. Of the II-4", implies that Brian understood them to
all belong to the opening movement, although if this was a misreading, the
sonata would surely have appeared to be in only three movements. As far as
I can judge, Truscott did not implement the suggested changes, and there
are no surviving pencilled emendations by Brian on any of the scores I located.
(iii) The Manuscripts
The main bulk of my activity was concerned with the music manuscripts themselves.
Sketches were generally made in pencil, with fair copies of the early works
being written out in ink in a studiedly neat, if undistinguished hand, that
he seems to have evolved in the later 1930s. From 1957, however, Truscott
adopted the ballpoint almost exclusively, coinciding with his arrival at
the College in Huddersfield. The quality of his calligraphy began to suffer,
probably due to increased rapidity of writing facilitated by the new-style
pens. His scores therefore can appear very different to the eye - almost
as if by a different person, although his signature did not change greatly
over the years. A couple of manuscripts, one of a Piano Quintet whose attribution
remains to be confirmed as the title page and signature are missing, the
other a copying out of Mahler's Das Klagende Lied, are in a seemingly
different hand again, although this may be accentuated by the use of a
thin-nibbed fountain pen. It is possible (see below) that these date from
the very early 1930s.
In the process of securing almost all of those compositions on the 1989 catalogue
(only the Tenth Piano Sonata and the completed original - as opposed to the
unfinished revision - of the Sixteenth continue to elude me), I uncovered
a host of additional, hitherto unknown items, many of them either finished
or at least with completed movements, more than doubling the total number
of pieces. These include a 60-page fragment of a single-movement symphony
(begun in 1945, the "No. 1" of "A"), two string quartets (1943-5), an undated
suite for harp, four further sonata movements for solo violin originally
conceived as a set with the one already known from 1946, three unnumbered
piano sonatas from 1941-2 and other piano music including two sets of preludes
and an incomplete Sonata for the left hand (1963). In the field of vocal
music, Truscott had admitted to nine songs, a total which now extends to
over two dozen, including several part-songs one of which, the Hymn on
the Passion (c. 1957) which I have found only the first page of, had
been performed in Huddersfield in 196012. An
unlisted a cappella setting in ten parts of the Kyrie had long been known
of (a photocopy residing in the collection of the BMIC), but a second in
six parts dating from 1963 turned up as did five movements of a Mass (for
unison voices and organ, 1955) and the unfinished Variations on "Once In
Royal David's City", scored for the unusual array of boy's voices, solo violin,
wind quintet and strings. The most tantalising manuscripts are the sketches.
These hint at several works from the 1930s the existence of which would be
known otherwise only from the worklists and autobiography, including the
3-act Shakespearean opera Falstaff and two symphonies, the first in
E flat from c.1936 dedicated to his revered Franz Schmidt-then still living-and
the second in F inspired by Grasmere in the Lake District.
I had concentrated my attention initially on those piles of documents which
contained the highest proportion of manuscript paper. Many of these "manuscripts"
were of course copies, but almost the first original item that I found was
the fair copy score of the orchestral Suite in G (1966). Truscott had claimed
on more than one occasion in the last few years of his life that he could
not locate this score (and that of the Fantasy for strings of 1960, which
I located about ten minutes later), despite knowing that a BBC producer was
interested in seeing them. This was followed in rapid succession by the work's
rough score - in biro - and a piano reduction, the latter described as being
"arr. for piano", so not an original orchestrated later. The documents that
lay underneath these in the first pile showed no pattern in their distribution.
Pieces that I expected to find were mixed up with the printed scores of chamber
or orchestral works by all sorts of composers with no discernible connexion
between them. I had begun to wonder at first whether neighbouring printed
scores related to the original Truscott pieces, but I learned later from
Margaret Truscott that they had simply been unpacked in that order and, after
a desultory attempt at some kind of re-organization - barely noticeable I
have to say - had been left crammed that way into any available safe space.
Thus photocopies of little-known Korngold compositions rubbed title-pages
with Harold's own works, alongside printed scores of Tovey, Paul Juon, Clementi,
Dussek, Kilpinen, McCabe, Rubbra, Holbrooke, Kornauth, Medtner, Brun ...
the list would be near endless and read like a lexicon of composers active
in the past three hundred years. Even the spread of his own manuscripts betrayed
little or no logic: after the Suite came the parts of the E major Symphony's
Adagio-Finale used in the student performance in Huddersfield in 1961 (the
familiar green cloth-bound score of the whole work being in another cupboard
altogether), then the two short organ works (a Toccata and Trio-Sonata),
Piano Sonatas Nos. 17 and 18 (1981), the Horn Sonata (1975-81), an undated
completion of an unfinished Fugue (for klavier) by J. S. Bach, the 1960 Fantasy,
the unfinished Suite in E minor for strings (with rough sketches and notes
for the conclusion), Piano Sonata No. 11 and the first of what proved to
be a whole series of exercise books crammed full of finished and unfinished
pieces, sketches, ideas from all points of Truscott's career. A description
of the first few will show how jumbled even the internal contents were:
-
-
Actually two books, interleaved, of a set of piano pieces in ink, probably
from the early 1940s. Book 1 starts with a Prelude in F minor, continuing
with two numbered movements (I Molto maestoso in B flat minor &
II Lento) and culminating in an unfinished and unnumbered Fugue in
G major, with pencil sketches. Book 2 contains two further numbered items,
both called Prelude. "B" had included "Four Pieces, 1943"; Lawrie Burton
confirmed that 4 Preludes had been performed by Truscott in 1946, which may
mean four of the five completed items of this
set13.
-
The only finished items this contained were the Drei Märchen,
Op. 9, by Medtner and further pieces from that composer's Opp. 31, 34 and
43. There were, however, sketches for a Horn Sonata and a Kyrie, and the
first page of a Sonata for piano, four hands, all undated.
-
After a loose-leafed page (not the first) of a piece for horn and strings,
the next contained sketches for a series of Duets for horn and harp, none
of which came to fruition, a score and separate violin part for the Fifth
Sonata in E for violin and piano that Truscott began in 1960, followed by
three songs: In no strange land (setting Francis Thompson, dated 1957),
The door (setting Mary Webb, undated) and Independence (setting
A. A. Milne, also undated).
This pattern, of at first glance unconnected sketches, completed works and
arrangements - or outright copies - of other composers' pieces, repeated
itself time and again, both in the juxtapositions of whole manuscripts and
scores in particular bundles of paper and in the internal contents of individual
books. The vagaries of the method of unpacking also caused some manuscripts
to be become split up, often waiting until my next visit before the constituent
parts could be collated. As far as can be judged, the collection at Truscott's
home in Deal accounts for all that has survived: no documents remained at
his childhood home in Ilford (where his elder brother, Len, resided until
his death in 1994), nor have any turned up as yet at the Royal College,
Blackheath Conservatory (where Truscott taught in the early 1950s) or
Huddersfield University. It is not impossible that further manuscripts,
particularly those dating from the 1930s, remain to be found, perhaps in
private hands. With the exception of the three final examples detailed below,
all the piano sonatas "in the style of late Beethoven" (and nowhere did Truscott
specify how many existed) were listed as destroyed. In the last year of his
life, before the final onset of illness rendered him chairbound, he did dispose
of an unknown amount of documentation including, according to his widow,
some sketch books. When she asked him what else, he replied "Nothing of any
importance"; Margaret does not believe any complete works were lost in this
way, but the loss of any sketch books is a great shame since some of the
ones that were recovered contained finished works-such as the 1928 Stevenson
setting mentioned above.
(iv) The Symphonies.
"E" had included a solitary completed Symphony, the E major dated 1948-9
(see note 6), plus two others, both unfinished
and in A minor, dated respectively 1962-8 and 1967-72. It is now clear that
there were four separate attempts to write a symphony in A minor. The first
was made in 1943 and is dedicated to Howells; the fragment of its first movement
runs to 19 pages of inked full score. A second A minor work was under
consideration in 1950, with some rudimentary sketching being made, but came
to nothing (although it may be no coincidence that the first movement of
what turned out as Piano Sonata No. 11, in the same key, was written in this
year). Of the two fragments from the 1960s, neither has a completed movement
although the first of these runs to 24 pages before giving out (the second
expires after just 5).
The E major remains the only completed symphony to have been located, but
seems to have been Truscott's fifth essay in the genre. It is yet to be confirmed
whether either of the two symphonies from the 1930s listed in "B" were ever
finished since only pencil sketches were found amongst his papers; yet
Laughter in the dark intimates that the second at least, the so-called
Grasmere Symphony14, was finished. Since
the origins of this work lay in visits to the Lake Districts with his then
fiancée, Barbara Campbell (a former pupil), it may be that she-if
still living-or her heirs retain a copy15.
The most substantial symphonic fragment to be located was that in E minor.
Two apparently fair copy scores exist, the second (longer) of which extends
to 60 pages before breaking off in full cry. The first pages of both bear
an inscription to the conductor Harry Newstone, are dated 1945 and headed
"I", as if denoting a first movement. However, interleaved in the later score
was an essay (written in faded pencil) entitled "The single-movement symphony"
and its identification with "No. 1" in "A" seems secure. As the torso of
an unfinished work, it is large enough to be performed as it stands (unlike
either of the larger A minor fragments). Whether a completion is feasible
or even desirable remains to be seen; its appearance on the page suggests
it to be a work of substance, the more so given the quality of the earlier
Elegy found with it (see below).
A word needs to be said here about the various scores of the Symphony in
E major. The definitive bound score was recalled by the composer (having
been sent to Martin Anderson who had tried in vain to arouse the interest
of several conductors) because he wished to add a part for trombone in the
finale. This he did, in pencil, on an unused stave at the top of the relevant
pages of the score, in general doubling and adding weight at crucial points
to the lines of the cellos and double-basses, and in one place the violas.
What is curious is that in "E", made 4 years before, he had defined the
symphony's instrumentation as "2/2/2/2-2/1/2/0-timp.-str.", i.e. already
specifying two trombones before setting down a note of the addition,
in the event made apparently with just a single instrument in mind. This
change, made most likely in 1991, was the last music that he wrote. A segment
of the scherzo middle movement was found, following a different disposition
on the page (but identical musically) with the final score. Also located
was a piano score which explains much of the work's genesis and expressive
concerns and would seem to represent the original working manuscript, containing
as it does markings for the later orchestration. This work clearly did not
start out as a symphony, however; the first title was erased (it may have
been a suite, sonata or sonatina) with "Symphony II" written first in pencil
then overwritten in ink. The numbering II does coincide with that in "A",
with the large E minor torso still being at this time thought of as
I16. The course of the piano score is identical
in structure with the orchestrated version. The first movement at first bore
the marking "Alla marcia"; while march-like elements are predominant, the
progress of the music is subjected to constant dislocation, which rendered
such a description inaccurate, accounting no doubt for its absence in the
orchestral score. The tempo of this movement also proved problematic, with
quaver = 55, 84 and 69 all being considered; 69 would seem to be the final-and
in my view most satisfactory-choice. The finale, which runs attacca
from the scherzo, bears two revealing superscriptions:
"There was a shout about my ears, and palms before my feet" (G. K. Chesterton,
The Donkey); and
"And they took Jesus, and led him forth, and bearing his own cross he went
forth to that place which is called Calvary, but in Hebrew, GOLGOTHA" (St.
John's Gospel, chpt. 19)17.
These may give some clue as to the symphony's expressive direction: the
relentless tread of the finale clearly represents the march to Calvary, the
scherzo (perhaps) the trial and scourging of Christ; the tortured, turbulent
opening Allegro would then be the prelude to these events, perhaps
as a resumé starting with the entry into Jerusalem, or even
Christ in the garden of Gethsemane. Laughter in the dark reveals that
Truscott was a converted Roman Catholic; it may be that faith provided the
impetus for him to complete this one only amongst his various symphonic projects.
It has now been recorded, with a single tenor trombone, for Marco Polo
(8.223674), conducted by Gary Brain.
Truscott himself never evolved a settled numbering for his symphonic projects,
although one or two hastily sketched first pages show the title "Symphony
No. 2", particularly that in F minor of c. 1954 which may ironically be the
"No. 4" of "A". Of that list's "No. 3", in C major (1951), not a trace has
yet been found, though there is a 1967 start at a Symphony in C which gives
out after 5 pages. None of the orchestral scores to have survived in ink
bore numbers; that on the spine of the E major's bound score, given also
its wrong key, must be considered aberrant. Here then is a list of Truscott's
symphonic projects (in this list and in those for succeeding categories,
complete works and those with either finished movements, or which are large
enough to be viable in performance as they stand, are marked in bold type):-
1. Symphony in E flat major, dedicated to Franz Schmidt c.1936-7 Lost
2. Symphony in F major (Grasmere) c.1937-8 Lost
3. Symphony in A minor "a", dedicated to Herbert Howells 1943 Unfinished-19pp
4. Symphony in E minor, inscribed "For Harry Newstone" 1945-?
Unfinished-60pp
5. Symphony in E major 1948-50, rev. 1991
6. Symphony in A minor "b" 1950 Sketches only
7. Symphony in C major 1951 Unfinished; lost
8. Symphony "No. 2" in F minor 1954 Sketches only
9. Symphony "No. 2" (no key) Undated; Unfinished-7pp
10. Symphony in A minor "c" 1962-8 Unfinished-24pp
11. Symphony in A minor "d" 1967-72 Unfinished-5pp
12. Symphony in C major 1967 Unfinished-5pp
13. Symphony in B minor Undated sketch
(v) Other Orchestral Works
Aside from the Symphony in E major, only two other completed pieces involving
the orchestra were listed in "E": a Fantasy for string orchestra written
in 1960, whose original title of A window on infinity was later
suppressed, and the Suite in G major for full orchestra, mentioned earlier.
Three works-in-progress were also included: a piano concerto, sketched in
1950, an unfinished Suite in E minor for string orchestra (1961), and an
oboe concerto, begun in 1968 but left
unfinished18. As with the symphonies, these
merely represented the tip of the iceberg. "B" had already added a good deal
more to the prospective list, but of these potential new items no trace at
all was found of the earlier (1944) Fantasy for strings, nor of the two "short
score" concertos, one for violin in B flat minor written "around 1934", the
other for piano in F major "about 1934-8"; however, the Falstaff
Overture did exist in versions for piano as well as orchestra, neither
of them complete but both entitled Prelude.
If Truscott's description in "E" of the 1950 piano concerto as "sketches
only" was accurate, then he was presumably referring to a work in F-the same
key as that written in short score in the 1930s-of which sketches do indeed
exist. (Whether there was any connexion between these two F major concertos
is probably now unfathomable.) However, Truscott actually started two piano
concertos in 1950, the other-in D major-considerably more than a sketch;
indeed there is a fragment of a 'fair copy' score, not unlike the larger
symphonic torsos, that runs for 23 pages before being abandoned. Both of
these 1950 concertos were envisaged for what would have been the standard
Truscott orchestra of double woodwind, 4 horns, 2 trumpets, 3 trombones,
timpani and strings. Ironically none of the works employing these precise
forces-including the 1945 E minor Symphony-was ever finished; the orchestra
of the Suite in G major comes the closest, using an additional tuba and side
drum. The Oboe Concerto was cast for a reduced ensemble, dispensing with
oboes, one pair of horns and the trombones.
Several pieces were omitted from the official canon of "works-in-progress"
in "E". A final idea for a piano concerto, this time in F sharp major, was
toyed with in 1970, but did not advance much beyond the initial sketch. Slightly
more substantial, inasmuch as what survives today, was an orchestral concerto
in variation form entitled Symphonic Movements. Only three variations
were completed, in c. 1968, requiring 17 pages of full score. A little earlier,
Truscott had started writing a Sinfonietta in D flat, the same key as
Janácek's, although there the resemblance ends. What remains of this
project is, yet again, a fragment of a 'fair copy' score, 25 pages long,
representing presumably Truscott's primary inspiration and initial development.
Perhaps the experience of finally hearing some of his own orchestral music
during the 1960s provoked this burst of activity: the finale of the E major
Symphony and A window on infinity were both performed in Huddersfield
in 1961-the latter probably directly responsible for his undertaking that
same year the Suite in E minor for strings-and the Suite in G major had received
a cursory play-through in 1966. Ultimately, however, a sense of futility
may have scuppered nearly all of these various new projects; after all, if
hardly anyone was interested in performing those few works he had finished,
was there any point in composing any more? Yet the seeds for new works still
kept coming, but the impetus that led him to begin three symphonies, four
concertos and a sinfonietta in close succession eventually petered out in
the early-to-mid-1970s, after which he appears never to have tackled an
orchestral score again.
This was a sad end to a (largely unrequited) compositional love affair with
the orchestra that had begun in or around 1932. According to Laughter
in the dark, it was at that time that Truscott had first tried his hand
at an orchestral work, although it gives no hint as to what form the piece
took or what title it bore, other than that it was short. An undated fragment
of an Allegro moderato turned up early on in my first day of excavation,
at first sight an early work though impossible to date accurately. Bars 64-125
of an untitled orchestral piece were also located amongst his manuscripts,
interleaved with papers connected to the Falstaff Prelude. Whether
these 61 bars constitute a further continuation or expansion of the operatic
overture, or were associated with it by mistake, will require detailed analysis.
Illustrative music seems to have held no attraction for him, the
Grasmere Symphony aside; I have found not the slightest trace of,
nor any reference to, any tone poem or such like, though the origins of A
window on infinity have yet to be clarified. Even given the likely programme
behind the Symphony in E major, the music is intelligible enough without
knowledge of it. However, that most expressive of ensembles, the string
orchestra, did attract him over a much wider span of his life than could
be gleaned from the two scores from 1960-1 catalogued in "E". The earliest,
and most astonishing given its relationship stylistically and in content
to the rest of his output, is the Elegy, dated October 1943 and a
fully finished composition taking some thirteen minutes in performance. Truscott
never publicly acknowledged its existence and it does not appear on any of
his worklists, even as one "now discounted", unless it doubles as the Fantasy
for string orchestra of 1944; Truscott may simply have mis-remembered the
Elegy's title and date. The score itself gives no clue as to its genesis,
beyond the cryptic note that the "partial quotation from George Butterworth's
Shropshire Lad Rhapsody at bars 53-56 is intentional." (I am indebted
to Michael Barlow, Butterworth's biographer, for tracing this quotation back
through the Rhapsody to its use in the original setting of Housman's
Loveliest of trees, at the words "Is hung with bloom along the bough".)
A big, symphonic adagio in E flat, the Elegy is a work fully worthy of the
English string orchestral tradition and is no student or apprentice study.
Truscott's personal voice (as manifested in the post-war piano sonatas) may
still not have emerged, yet this is a work of complete mastery. A public
performance in post-War Britain might well have changed his life and established
him as a composer first and foremost. Its recent recording, as a coupling
to the Symphony and Suite, should begin to redress the balance.
The fluency of the writing evident in every bar of the Elegy may have
prompted him to start a Fugue for strings, probably in
194619. This got no further than 18 bars of
full score, although there are sketches in pencil for the work as a whole.
The Fantasy, A window on infinity, followed in 1960, being premiered
in Huddersfield the next year by the local Education Authority's string orchestra
under the composer's direction-the only instance (aside from the E major
Symphony's finale) I have found of Truscott conducting. The Suite in E minor
which ensued has two completed movements, a slow first succeeded by a scherzo.
The third movement is also slow in tempo and is approximately half-finished;
why it was never carried through to the end is a mystery since the work was
never repudiated and he left pages of notes for its completion. Unusually,
this involved concluding with a quote from Berwald's overture, Estrella
di Soria, Truscott's undated completion and solo piano arrangement of
which I found in an exercise book, nowhere near the score of the Suite, in
one of my later excursions through the piles of paper. No hint of any fourth
movement has as yet been found. The Suite's completion as a viable slow-fast-slow
three movement work, while not exactly a formality, is a more straightforward
prospect than that of any other of Truscott's unfinished works.
Truscott did commence one other work for a reduced orchestra: yet another
suite, for double woodwind, 4 horns and double-basses, in 1965. This was
included in "B" alone and only the first movement, Prelude, is extant. The
composer thought sufficiently highly of it to have parts made of this first
movement; I have not been able to trace any performance. A very brief start
of a succeeding movement and one or two sketches of a third are all that
remains of its planned progress; they were found with sketches for a wind
quintet, though whether any real connexion exists is still unclear. Here
is a list of the non-symphonic orchestral works:-
1. Untitled short piece (c. 1932) Lost
2. Concerto in B flat major for violin and orchestra (short score only) (c.
1934) Lost
3. Concerto in F major for piano and orchestra (short score only) (c. 1934-7)
Lost
4. Prelude/Overture: Falstaff (from abandoned opera) (c. 1937-8)
Unfinished
5. Elegy for string orchestra (1943)6. Fantasy for string orchestra
(1944) ? = Elegy7. Fugue for string orchestra (c. 1946) Unfinished
8. Concerto in D major for piano and orchestra (1950) Abandoned, 23pp
9. Concerto in F major for piano and orchestra (1950) Sketches only
10. Fantasy for string orchestra (originally A window on
infinity) (1960)
11. Suite in E minor for string orchestra [3 movts.] (1961) Movt 3
unfinished
12. Suite for winds and double-bass [1 movt. extant] (1965) Unfinished
I Prelude Complete
13. Suite in G major [4 movts.] (1966)
14. Sinfonietta in D flat major (c.1966) Abandoned, 25pp15. Symphonic
Movements/Concerto in variation form [3 vars. extant] (c.1968) Unfinished,17pp
16. Concerto in F sharp major for piano and orchestra (1950) Sketches only
17. Concerto for oboe and orchestra (1950) Abandoned
18. Allegro moderato Undated fragment
(vi) The Chamber Music
As stated previously, the expected haul of chamber music was very limited:
aside from the A major Trio and the Variations on a minuet of Schubert
for clarinet choir (1974), nothing was known. This was odd for a composer
of Truscott's avowed inclinations, author of a book on Beethoven's late quartets,
and known to have a passion for the medium in general (cf. note
5). The final list of his projects is still fairly
small in comparison to the piano sonatas and symphonic essays, but rather
more than just two works. "B" had listed two string quartets and I found
two, even if one of the key designations was wrong (cf. note
8). Laughter in the dark mentions the
composition of several chamber pieces from around 1929 on, including two
more string quartets and a piano quartet in D minor. No vestiges of these
were found amongst his papers, unless the piano quartet was mis-recalled
in place of a Piano Quintet in C minor. The title page of this
last has disappeared, there is no signature or date, and the calligraphy
and layout on the page seem rather immature, even down to the termination
of movements, where double bar-lines are missing. The hand is the same as
that of the copy of Das Klagende Lied, as mentioned above; the latter
score has a front page added much later-when the score needed some
repair-definitely in Truscott's handwriting of the 1940s onwards. Would he
have done this to someone else's copy? If so, why not do likewise with the
Quintet? I think the latter unlikely to be a copy of another composer's work,
since throughout his life Truscott was assiduous in identifying his copies
as such; but if it is one of his own creations it might even be the very
work that precipitated the traumatic confrontation with his father in the
early summer of 1930.
Of the two string quartets that were found, the three-movement first is in
B flat and was dedicated to Howells. It appears complete in all respects.
The second-also unnumbered-is in C minor and was inscribed to Robert Simpson
(b. 1921)20. The manuscript contains just one
movement, although a second was considered, and with it were found handwritten
parts-though not in Truscott's hands. Sketches for a C major work of the
same period cannot conclusively be linked to the C minor-as for a possible
finale, for example. Here at least Truscott does not seem to have entertained
thoughts of many more quartets; two undated and fragmentary sketches for
quartets in G major and A are all that came to light.
During the 1940s Truscott did make plans for other ensemble pieces, such
as for a Clarinet Quintet (in D minor) and a Passacaglia and Fugue for horn
and string trio, this latter prompted presumably by his studies in horn at
the Royal College, although what remains has no date. The largest of the
fragments is of a C major Piano Quintet which expires after two dozen pages
of the first movement; it seems to have been started in 1945 prior to the
C minor String Quartet and Piano Sonata No. 1. Otherwise, the only substantive
item arose from his concentration in the mid-1960s on the oboe. In 1968,
he wrote the first movement of a Trio for 2 oboes and cor anglais. Little
survives of the succeeding two movements, but the first appears to be a viable
piece. Around 1976, Truscott gave thought to a piano trio, but not for long,
the manuscript book being used instead for a copy of Rubbra's Sinfonia
da camera (of which he possessed the printed score, along with many other
Rubbra works). The full list of Truscott's chamber pieces is:-
1. Quintet in C minor for piano and strings [4 movts.] (c. 1929-30)
(title page lost-may be the Quartet in D minor of Laughter in the
dark)2. String Quartet "no. 1" in E minor (1943-4) Lost
3. String Quartet in B flat (ded: Herbert Howells) [3 movts] (1943-4)
4. Quintet in C major for piano and strings [Movt I] (1945) Unfinished, 24pp
5. String Quartet "no. 2" in C minor [1 movt.] (1945)
6. String Quartet in C major (1945) Sketches only
7. Clarinet Quintet in D minor (c. 1940s) Fragment
8. Trio in A major for flute, violin and viola [4 movts.] (1950)
9. Trio for 2 oboes and cor anglais [1 movt. extant] (1968) Unfinished10.
Variations on a theme of Schubert for 6 clarinets [1 movt.] (1974)11.
Piano Trio in A minor (c. 1976) Sketches only
12. String Quartet in G major Undated sketches
13. String Quartet in A major Undated sketches
14. Passacaglia and Fugue for horn and string trio Undated sketch
15. Wind Quintet Undated sketch
(vii) The Piano Music
The most voluminous part of Truscott's output was his music for piano, dominated
by the seventeen sonatas written between 1945 and 1982. Aside from these,
the only items known prior to my searches were the three Suites (cf. note
2), two Preludes and Fugues of 1957 and the
Variations and Fugue on an original theme in B minor (1967). I knew
in advance of the possibility of finding at least some of the early sonatas
"in the manner of late Beethoven"; "A" listed one of these, in B flat (1941),
as well as a Sonatina in A minor, whose year-of-composition was given as
1945; "B" listed three "discounted" sonatas "written around 1940", though
without any mention of a Beethovenian connexion. It is now clear from a variety
of sources, including Laughter in the dark, that from the mid-1930s
Truscott wrote a whole series of such sonatas (their number, however, seems
never to have been recorded). All were subsequently destroyed before 1977,
although he thought highly enough of the final sub-set of three to retain
the manuscripts, if not include them in his official canon. What I eventually
found, therefore, were these three final sonatas, inscribed with the 'Late
Beethoven' tag, in A major (1941; four movts.), in B flat major (1941-2;
four movts.) and F major (1942; three movts.21), plus the Sonatina No. 1
in A minor, also in four movements, composed in fact during 1942-3. These
works appear to be the immediate predecessors of the collection of Preludes,
&c. described in (iii.1) above.
Nearly all of the numbered sonatas were found, Nos. 10 and 16 aside, some
of them in multiple copies. At one point-given the use of ink pen rather
than ballpoint, some time before 1957-Truscott decided to write out his sonatas
in bound volumes: the only example that I have located is Volume I. It is
full and contains Nos. 1, 2 and 4 (1948-9). There were relatively few sketches
for the earlier sonatas, but with the later ones the process of composition
can be followed: for instance with Nos. 12-14, conceived in 1967 as a set
of three Sonatinas. The composer was half-way through the third when he realised
that they were really short sonatas, and wrote them out in fair copy under
their present titles. However, the idea to create sonatinas remained, and
early in 1968 he composed Sonatina 'I' in G minor; unfortunately, he only
got as far as page 1 of Sonatina 'II'. The G minor, therefore, should really
stand as Truscott's Second, given the extant A minor work completed in 1943.
Between 1967 and 1981, Truscott made several attempts to write further Sonatas
for the piano. There are several false starts at a Sonata No. 15, and one
for No. 16 in A major (1968). What became No. 15-in B minor-does not seem
to have originated until 1976, being completed only five years later after
he had retired from teaching. No. 16 turned out to be in E flat major in
the end; it is related to a sonata in that key that was started in 1939,
taken up again in the late 1940s-but not to be confused with No. 4 which
is in the same key-and set aside until the mid-1960s, when further tinkering
took place. Whether a finished work emerged at that time cannot ever now
be verified, I suspect, although if so it implies that the composer regarded
one of the abortive No. 15s as viable. "E" listed No. 16 as "was complete,
but part now being rewritten". The manuscript score of the final No. 16 that
I found shows a work in the process of thoroughgoing revision - no less than
Truscott claimed - but with no trace of a completed first version remaining.
The 1981 rewrite may have been intended to form part of another set of three
sonatas, with Nos. 17 and 18. The Seventeenth is in G minor; despite being
in four movements it requires just five minutes playing time. Truscott was
adamant that it was a sonata not a sonatina and the work was once tellingly
described in astronomical terms by Robert Simpson as a "black dwarf" on account
of its terrific density. The manuscripts of this, the shortest of all Truscott's
sonatas, reveal that originally the finale was at first intended to be rather
longer, going beyond the present conclusion, but was never completed in this
way. Truscott wrote it out again in another exercise book, with the curtailed
ending; the rump of the first movement of No. 18, to be in A flat, is present
in both manuscripts. After finalizing No. 17 in 1982, Truscott does not appear
to have returned to No. 18, at least; it cannot be said with any certainty
when No. 16 was last worked on.
One further sonata-fragment was unearthed in a sketch-book: two movements
of a work for the left hand, which seems to date from 1963. The work is written
roughly in biro; the second movement-a scherzo-was to have been succeeded
by a slow third, which does not proceed far. These discoveries have raised
the total of complete sonatas (counting the early F major, that for left
hand and No. 16 in, but not the Eighteenth) to twenty-one, with two sonatinas,
in the following sequence:
1. unspecified number of sonatas "in the style of Late Beethoven" (mid-1930s-;
cf. 3-6 below)
2. Sonata in E flat major (?precursor of No. 16) (1939; 1948-9; 1966-?)3.
Sonata "in the style of Late Beethoven" in A major [4 movts.] (1941)
4. Sonata "in the style of Late Beethoven" in B flat major [4 movts.]
(1941-2)5. Sonata "in the style of Late Beethoven" in F major [3 movts.]
(1942)6. Sonatina no. 1 in A minor [4 movts.] (1942-3)7. Sonata
no. 1 in D flat major [4 movts.] (1945)8. Sonata no. 2 in C major
[5 movts.] (1945-7)9. Sonata no. 3 in G sharp minor [3 movts.] (1947-8)10.
Sonata no. 4 in E flat major [4 movts.] (1948-9)11. Sonata in E minor
[4 movts.] (1949) Unfinished; lost12. Sonata no. 5 in B minor: i m Nicolai
Medtner [4 movts.] (1951-5)13. Sonata no. 6 in E major [4 movts.]
(1955-6)
14. Sonata no. 7 in C major [1 movt.] (1956)15. Sonata no. 8 in
E minor [4 movts.] (1958-60)
16. Sonata no. 9 in E minor [4 movts.] (1960)
17. Sonata no. 10 in E minor [4 movts.] (1962)
18. Sonata for the left hand [2 movts. extant] (1963) Unfinished19.
Sonata no. 11 in A minor [2 movts.] (1950; 1964)20. Sonata no.
12 in C major [4 movts.] (1967)21. Sonata no. 13 (in A minor/C sharp
minor/E major) [3 movts.] (1967)22. Sonata no. 14 in G major [3
movts.] (1967)23. Sonatina [I] no. 2 in G minor [4 movts.] (1968)24.
Sonatina [II] [? movts.] (1968) 1-page sketch
25. Sonata "no. 15": several rejected fragments [? movts.] (1967) Abandoned26.
Sonata "no. 16" in A major [? movts.] (1968) Abandoned
27. Sonata no. 15 in B minor [3 movts.] (1976-81)
28. Sonata no. 16 in E flat major [3 movts.] (1981) Incomplete
29. Sonata no. 17 in G minor [4 movts.] (1982)
30. Sonata no. 18 in A flat major [4 movts.] (1982-) Abandoned
One additional suite was found, an arrangement of the 1966 orchestral Suite
in G major. No trace remained of the B minor Suite precursor of Sonata No.
6, confirming the composer's assertion that it had been destroyed, but there
were two sets of preludes: the unfinished concoction in two exercise books
mentioned earlier and an undated set of 5 Preludes, complete in all respects.
A few solitary items came to light, one a Fugue in E flat minor. From the
handwriting, I would guess that this last is quite a late work and it may
be linked with Sonata No. 16, but neither this nor the provenance of the
other small complete pieces can be averred with any certainty. From the
calligraphy of the earlier, inked scores, I doubt if any can be identified
with Truscott's first efforts, as related in Laughter in the
dark22; they appear to have been written
during the 1940s and 1950s. Devotees of music for piano duet will be disappointed
to learn that no finished opus could be found, despite several attempts most
of which did not proceed very far. One that did was a large-scale composite,
Prelude, March, Variations and Finale. Begun in 1968, it was laid
aside the following year with its first two sections complete but the Variations
only half so; there was no hint of what form the Finale was to take. In the
following list, compositions are for solo piano unless otherwise stated:
1. Moderato [1 movt.] (undated)
2. Un poco allegretto, quasi andante [1 movt.] (1940s)
3. Prelude/Overture: Falstaff (arr. from abandoned opera) (c. 1937-8)
Unfinished
4. 6 Pieces: Prelude in F minor; I Molto maestoso in B flat
minor; II Lento; Fugue in G [unfin'd]; III
Prelude: Poco allegretto giacondamente;
IV Prelude: Molto allegro (1943)
5. Rondo Hommage à Schubert, for piano duet (1940s?) Abandoned
6. Suite (originally no. 1) in B minor [6 movts.] (1948-9) Destroyed
7. Symphony in E major (arr. of orchestral score) [3 movts.] (1949-50)
8. Suite no. 1 (originally no. 2): 12 Bagatelles [12 movts.]
(1949)
9. Prelude and Fugue in E flat minor (1957)
10. Prelude and Fugue in C major (1957)
11. Suite no. 2: 20 Short Pieces [20 movts.] (1962)
12. Suite in G major (arr. of orchestral score) [4 movts.] (arr. 1966?)
13. 20 Variations and Fugue on an original theme in B minor
(1967)
14. Prelude, March, Variations and Finale, for piano duet [4 movts.]
(1968-9) Unfinished
15. Piano Duet in F (1978) 1-page fragment
16. 5 Preludes (undated; post 1957)
17. Allegro molto (1970s?)
18. Fugue in E flat minor (late?)
19. Sonata for piano duet (undated)
Brief mention must be made here of Truscott's arrangements and completions
for piano of other composers' works. He seems to have undertaken this activity
both as a recreation and a learning exercise. The Schubert editions have
long been known of, and were broadcast in 1958. Never precisely catalogued,
they do not form a comprehensive attempt to finalise all of the Viennese
master's incomplete sonatas (unlike those by Martino Tirimo). Nine movements
were found-two of them not from sonatas at all, along with the Berwald Overture
linked to Truscott's own E minor Suite for strings, and an unfinished Fugue
of Bach's. This last is not the famous item from The Art of Fugue,
Tovey's completion of which Truscott also laid out for 2 pianos. Other
non-keyboard works reduced for piano include four of Robert Volkmann's string
quartets (Nos. 3-6) and one in E major (Op. 58) by Fuchs, Berwald's Sinfonie
Capricieuse and movements from Tovey's Piano Quintet in C, Sibelius'
First Symphony and part of the Adagio from Schmidt's Fourth.
(viii) Instrumental Music
As with the piano music, "E" had itemised a substantial body of instrumental
compositions, both completed and in progress, which were confirmed and expanded
upon by "A", "B" and "C"; Laughter in the dark, however, cast scant
light on possible finds from the 1930s. Unlike the orchestral and chamber
music, very little was actually uncovered which dated from before 1945; probably
the earliest are the various fragments of pieces for horn-particularly an
unaccompanied Sonata in B flat. "A" lists this work as lost, or at least
its first and third movements. A handwritten note to "A" might indicate that
these were all that were written in the first place; only two pages of the
opening span were found. The most likely period of its composition would
be during Truscott's sojourn at the Royal College of Music (1943-5), when
he studied the instrument under Frank Probin. It may be that the undated
sketches of the Sonata for four horns and the Passacaglia & Fugue for
horn and string trio also date from this
time23. Sketches for an unspecified number of
Duets for horn and harp cannot be securely dated; as they are written in
biro, they are most likely post-1957, and were found in the same book as
the ultimately abandoned E major Violin Sonata (No. 5). In the event, Truscott
did not complete a work for his instrument until 1981, i.e. the initially
productive period of his early retirement, with the Sonata in E flat with
piano accompaniment begun in 1975 which was also designed to be playable
on the cor anglais.
The first of Truscott's sonatas for violin and piano was composed between
February and August 1946. Music for stringed instruments was evidently a
preoccupation in the immediate postwar period, from which dates the C minor
Quartet and, in December 1946, the complex of Sonata(s) for unaccompanied
violin. The manuscript is unclear whether one sonata in five movements, five
sonatas in one movement, or some other disposition, was intended. The works
were gathered together in a brown manila envelope on which was written "Sonata(s)
for solo violin". The movement designated I, the C major work played at the
1989 BMIC recitals honouring his 75th birthday and included on
Marco Polo's CD (8.233727), has its pages numbered separately from the rest
(1-7); movements II-V start again at page 1, and V is titled "Finale". II
looks to be a potentially independent work, so a set of two one-movement
and one three-movement sonatas may have been a possible final outcome. It
is likely that Truscott's indecision over the set's precise disposition,
as opposed to any doubts about the relative merits of the individual movements,
led him to release only the obviously stand-alone First. The remainder are
probably what became translated in "B" as "Four Preludes and Fugues for solo
violin, 1946", no traces of which have otherwise come to light. Another vanished
work is the D minor Sonata for viola and piano, listed as lost in "A" (dated
1945-6 with a handwritten note of its loss) and "C", but implicitly extant
in "B" (where it is dated 1946-7). The piece is currently missing, though
tantalisingly a viola part of two movements-seemingly covering the entire
work-was found. On March 1st, 1948, Truscott wrote out in pencil the first
movement of another piece involving the viola: a Duo, with violin. The existence
of this piece had been made known by the composer's note to the A major Trio
for flute, violin and viola (1950) on the occasion of the first 75th birthday
recital, where the later work's third span-an elegy-was said to have originated
as the slow movement for this Duo. Nothing remains of this movement in its
first incarnation, but the Duo as it survives is a viable piece.
Between the Duo and Trio came the Second Sonata for violin and piano, in
the unusual key of G sharp minor, completed in June 1949. Like the Trio,
this Sonata was one of the few works of Truscott's to receive an early broadcast,
by Max Salpeter and Cyril Preedy in 1954. Before this BBC relay, Truscott
started and quickly discarded another violin sonata, in B minor-even assigning
it the number 3-but it was not until the end of the 1950s that a finished
Third Sonata appeared. This work, in C major, was completed in June 1959
and premiered at a lunchtime recital in Huddersfield with the composer
accompanying Herbert Whone24. Truscott seems
then to have taken up again a discarded Sonatina/Sonata in A major, the first
movement of which I found to have been set down in 1947; "E" merely lists
it as having been started in September 1959. As previously, only the first
movement reached a final form, its two successors being only sketched. A
Fifth Sonata-this time in E major-fared less well, though both it and its
immediate predecessor have violin parts written out for their extant portions.
Some time after drawing up "E", Truscott amended the typescript "This I have
stopped" against no. 5 and crossed the entire entry out.
No works for solo cello were located to join the two late ones already known
from "E": the Sonata in A minor (with piano), sketched in 1982 but only worked
on seriously in 1986-7, and the unaccompanied Meditation on themes from
Emanuel Móor's "Suite for 4 cellos", written in two days in April
1985. These two pieces were the last he wrote; indeed the final original
creations of his career. No trace of the Sonata for double-bass and piano,
listed in the addendum to "A", was found.
In the mid-1960s, writing for solo wind instruments suddenly began to exercise
Truscott's creative faculties. Unfortunately, very little in the way of new
completed works have been found; rather, it is now clear that the Third Sonata
for clarinet and piano (1966) was not finished, contrary to all previous
indications. The catalogue in "E" of three sonatas for clarinet, and one
apiece for oboe and horn (or cor anglais), was affirmed by "B" and "C"
collectively. To these works can be added a B flat minor Prelude & Fugue
for clarinet and piano, definitely separate from the Third Sonata of that
same year but which turned up alongside the final Fifteenth Piano Sonata
of 1981, and a fragmentary Suite for unaccompanied clarinet dating from 1968.
A set of 5 Pieces for oboe & piano (c. 1966) miscarried, although the
first was nearly finished, with two others rudimentarily sketched. In 1967
and 1971, attempts at a Sonatina and Sonata for flute and piano, and what
would have been a Fourth Clarinet Sonata, failed; an undated 55-bar fragment
of a "Finale in C major" may be connected to this last.
Truscott was known from "E" to have composed two organ works, a Toccata in
A minor (1956) and a Trio Sonata in E flat (1972). The Toccata had been played
in Huddersfield Town Hall in June 1965; the unplayed Trio Sonata was originally
planned as the first of a set of six; none of the others have survived, if
they were ever written down. In the mid-to-late 1950s (datings vary between
the sources), Truscott had ideas for a full-scale C major Sonata. "A" and
"B" imply that it was complete (the former gives no date, the latter 1960);
"C" and "E" omit it altogether. What survives is rough and fairly insubstantial;
the only real addition to his organ output is a transcription of Havergal
Brian's Double Fugue in E flat that was known to have existed beforehand.
The last and one of the most unexpected of all these discoveries amongst
the composer's papers, however, gives every appearance of wholeness: a
four-movement Suite for harp, undated and unsigned, written in biro. It shows
signs of very rapid composition and I wondered whether it might be a copy
of another work, but given Truscott's thoroughness in labelling his copies,
I believe the Suite to be original. What led him to contemplate a work for
the harp is unknown, although he did have connexions with a professional
player through the College in Huddersfield.
1. Sonata no. 1 in F sharp minor for violin & piano [4 movts.]
(1946)
2. Sonata in C major for solo violin [1 movt.] (1946)
3. Sonata(s) for solo violin [4 movts.] (1946)
4. Four Preludes and Fugues for solo violin (1946) Not found
5. Sonata in D minor for viola & piano [2 movts.] (1946-7) Lost
6. Duo for violin & viola [1 movt.] (1948)
7. Sonata no. 2 in G sharp minor for violin & piano [4 movts.]
(1948-9)
8. Sonata "no. 3" in B minor for violin & piano [? movts.] (1950) Abandoned
9. Sonata in C major for organ (?1955-60) Sketches only
10. Toccata in A minor for organ [1 movt.] (1956)
11. Sonata no. 3 in C major for violin & piano [1 movt.] (1959)
12. Sonata no. 1 in C major for clarinet & piano [4 movts.] (1959)
13. Sonata no. 4 in A major for violin & piano [3 movts.] (1946-59)
I complete, movts. II-III, fragmentary
14. Sonata no. 5 in E major for violin & piano [1 movt.] (1960) Abandoned
15. Sonata no. 2 in D major for clarinet & piano [5 movts.] (1965)
16. Sonata in G major for oboe & piano [3 movts.] (1965)
17. 5 Pieces for oboe & piano (1966) Unfinished
18. Sonata no. 3 in C sharp minor for clarinet & piano [3 movts.]
(1966) Unfinished
19. Prelude and Fugue in B flat minor (1966)
20. Suite for solo clarinet [? movts.] (1968) Sketch only
21. Sonata/Sonatina for flute and piano (1967) Sketch only
22. Sonata [No. 4?] for clarinet and piano (1971) Sketch only
23. Trio-Sonata in E flat major for organ [1 movt.] (1972)
(intended as the first of six; no trace of nos. 2-6 survives)
24. Sonata in E flat major for horn/cor anglais & piano [4 movts.]
(1975-81)
25. Suite for harp [4 movts.] (c. 1970s)
26. Meditation on themes from Emanuel Móor's Suite for 4
cellos
for solo cello [1 movt.] (1985)
27. Sonata in A minor for cello & piano [4 movts.] (1982-7)
28. Sonata in B flat major for French horn unaccompanied (c. 1943-5?) Unfinished
29. Sonata for 4 horns Sketch only
30. Duets for French horn and harp (c1959-60) Sketch only
31. Finale: Allegro in C for clarinet and piano Unfinished
(ix) Vocal Music
"E" had listed just nine songs, all for voice and piano: two from 1946 setting
Mary Webb and Robert Bridges; five from 1956 to words by, respectively, Thomas
Hood, Emily Brontë, Belloc, Tennyson and Francis Thompson; and a final
pair from 1971, Herrick's An Epitaph upon a Virgin and Mannyng's
Praise of Good Women. 1946-71 in itself represents quite a wide spread
across Truscott's career, but when I collated the various manuscripts of
the 1946 Mary Webb song The Vision I found that it had originally
been written in 1938. When it was linked by the composer to Bridges' I
love all beauteous things eight years later, the two were collectively
titled Songs for Melanie25. But the roots
of Truscott's songwriting went back still further, to some of his very first
compositions. This was hinted at in the worklists: while "A" and "C" listed
no vocal items whatsoever, "B" included the 5 Songs in "E"-with a variant
dating of 1960-as well as two early ones from 1928: Requiem, a setting
of Stevenson's Under the wide and starry sky mentioned in Laughter
in the dark, and Everyone suddenly burst out singing (Siegfried
Sassoon). The Sassoon song has disappeared, alas, but Requiem survives
in two versions, the first what looks to be a pencil sketch but is, I believe,
a later, hurried 1930s copy (in a book entitled "Falstaff Sketch Book";
see below) and an ink copy. A cursory inspection revealed no immediately
obvious differences between them.
Probably at around the same time as The Vision, Truscott set G. K.
Chesterton's The Christ-child lay on Mary's lap and W. H. Hudson's
At noon, within the woodland shade. Attempts at larger canvasses,
whether orchestral songs or small cantatas, generally came to naught, as
with the concert aria Oh, Heavenly mercy, intended ultimately for
soprano and orchestra but sketched in the 1940s only in piano score, The
Making of Viola for bass, chorus and small orchestra, or what would have
proved a notable setting, for soprano, alto, tenor, bass and piano, of Southey's
How beautiful is the night. Circa 1951, Truscott wrote his only songs
(at least that have survived) to German texts, two of Rilke's Sonnets
to Orpheus: Du stiegt ein Baum and Und fast ein
Mädchen. The score containing both is clearly marked "Two Sonnets",
but nevertheless contains a brief fragment of a third: Ein Gott vermags.
Shortly after the 5 Songs-and I follow "E" in dating this to 1956 as it is
an ink score, not biro which it would almost certainly have been if the 1960
of "B" was correct-Truscott wrote (in ballpoint) a group of three songs,
setting Francis Thompson (In no strange land), Mary Webb (The
Door) and A. A. Milne (Independence). Thompson was clearly a favourite
of the composer's since a little earlier Truscott had set four of his poems
for chorus and piano: Insentience, July Fugitive, When music's
fading's faded and Envoy. This last is a completely different
setting to that contained in the 5 Songs (1956). Shortly after arriving at
the College in Huddersfield, Truscott wrote two a cappella choruses to anonymous
medieval texts: a Love ditty from the thirteenth century and Hymn
on the Passion from the fifteenth. Both were written in red biro, but
only the first page of the Hymn remained amongst Truscott's papers;
oddly, this was the one that was performed in 1960 by the College's madrigal
group: the only performance as far as I am aware of a complete Truscott vocal
work. In December 1963, Truscott suddenly produced in the space of three
or four days four more part songs, three on verses by Herrick, plus a tiny
Kyrie for a Mass in A minor for 6-part chorus. A Sanctus is
listed in "B" as having been written but is missing and no sketch remains;
however, a 4-part and equally brief Benedictus from early the next
year was found and may have been meant to be part of the same work. After
two related but distinct settings of Rosetti's Mary's Girlhood, both
for soprano, altos and piano (c. 1964) as the first of 3 Sonnets for
Pictures, only the 2 Songs from 1971 were written. Here again, a third-the
anonymous An ancient love song-was started but left in limbo.
The titles of several songs betray a religious connexion, not least the
Chesterton and Rosetti settings, or the 1963 Herrick part songs Matins
and Ode on the Birth of our Saviour. In the catalogue for the
75th birthday recitals, I had included the Kyrie for 10-part
chorus, a photocopy of which I had seen at the BMIC, but which had been omitted
from all other lists. This was scored for 4 sopranos and pairs of altos,
tenors and basses, and is all that remains of Truscott's second attempt at
a Mass, in C major (it shares its manuscript with one of the Schubert sonata
movement completions which was written in April 1958). Truscott's first Mass
setting dates from 1955 and like that of 1963-4 is a brief affair, ten minutes
in duration at most, in F sharp major for unison voices and organ. Four movements
are extant: Kyrie, Sanctus, Benedictus, Agnus Dei,
with 73 bars of an unfinished Credo as fifth movement.
Perhaps the two most extraordinary of Truscott's vocal conceptions are the
projected Shakespearean opera, Falstaff, and the set of 6 variations
(of which only three were written) for boy's chorus, solo violin, wind quintet
and strings on the carol "Once in Royal David's City". Of the opera, very
little now remains beyond piano and orchestral versions of the unfinished
Prelude. Truscott worked on this in the years immediately before the outbreak
of the Second World War and I find it hard to believe that more of it did
not at one time exist. No trace of the libretto (which he fashioned himself,
presumably from Shakespeare's The Merry Wives of Windsor) has come
to light. Sketches do survive, most of them assembled in the "Falstaff
Sketch Book" that also contained a copy of his first song. Little can be
gleaned of the opera's projected structure, although it was to have had two
acts. The Variations on "Once in Royal David's City" only advance
to near the end of the third variation, although Margaret Truscott recalled
that a part at least of the piece was performed at a school in Dulwich in
or around 1950, but with piano accompaniment. No piano score exists now amongst
his papers, but the composer could have played the work on the piano from
an orchestral or other short score which has not come to light. A provisional
chronological listing of Truscott's vocal pieces runs:-
1. Song: Requiem ('Under the wide and starry sky') [R L Stevenson]
(1928)
2. Song: 'Everyone suddenly burst out singing' [Sassoon] (1928) -Lost
3. Opera: Falstaff [Shakespeare] (1937-9) -Abandoned
4. Song: 'The Christ-child lay on Mary's lap' [Chesterton] (c. 1938)
5. Song: 'At noon, within the woodland shade' [W H Hudson] (1940s)
6. Concert aria: 'Oh, Heavenly mercy' for soprano and orchestra (1940s) -Piano
sketch only
7. Two Songs (originally titled variously "for Melanie" or "from the
Melanese")
I The Vision [Mary Webb] (1938)
II I love all beauteous things [Robert Bridges](1946)
8. "The Making of Viola" for bass, chorus and small orchestra (1940s)-Unfinished
9. "Once In Royal David's City": 6 variations for boys' chorus, solo violin,
wind quintet and strings (1950)-Unfinished
10. Two Sonnets to Orpheus for contralto and piano [Rilke] (c. 1951)
I 'Da stiegt ein Baum'; II 'Und fast ein Madchen';
( III 'Ein Gott vermags' - sketch)
11. Poems by Francis Thompson for SATB chorus and piano (c. 1952?)
I Insentience; II July Fugitive; III 'When music's fading's faded'; IV
Envoy
12. Mass in F sharp major for unison voices and organ [5 movts.]
(1955)-Unfinished
I Kyrie; II Sanctus; III Benedictus; IV Agnus Dei; V Credo-Unfinished
13. Five Songs (1956)
I No! [Thomas Hood]
II Tell me, tell me, smiling child [Emily Brontë]
III The Birds [Belloc]
IV Flower in the crannied wall [Tennyson]
V Envoy [Francis Thompson]
14. Three Songs (c. 1957)
I In no strange land [Francis Thompson] (1957)
II The Door [Mary Webb] (undated)
III Independence [A A Milne] (undated)
15. Mass in C major for 10-part chorus (SSSSAATTBB) [? movts.] (c. 1957-8)
I Kyrie (very fragmentary sketches only for succeeding movements)
16. Two choruses [anon.] (1957)
I Love ditty [text c. 1300]; II Hymn on the Passion [text c. 1530]
(partially lost)
17. Two Songs (SATB) [Herrick] (1963)
I Matins, or Morning Prayer; II Ode on the Birth of our Saviour
18. Two Songs (SSA) (1963)
I Song to a serenader in February [Praed]
II To Music, to becalm his fever [Herrick]
19. Mass in A minor for 6-part chorus (SSATBB) [? movts.] (1963-4)-Unfinished
I Kyrie; II Sanctus - lost; III Benedictus (SATB)
20. 3 Sonnets For Pictures for soprano, altos and piano [D G Rosetti] (c.
1964)-Unfinished
I Mary's Girlhood (two versions)
21. Two Songs (1971)
I An Epitaph upon a Virgin [Herrick]
II Praise of Good Women [Robert Mannying]
22. Song: An ancient love song [anon.] (1971)-Unfinished
Undated:
23. Song: A Prayer [Ben Johnson] -Unfinished
24. Song: Twilight it is, and the far woods are dim [unattrib.]
25. Song: 'Now that the dayspring' [Eden Philpotts] -Unfinished
26. Song: 'How beautiful is the night' for sop., alto, tenor, bass &
piano [Southey]-Unfinished
This makes a total of twenty-nine completed songs and part-songs (including
the Hymn on the Passion and both versions of Mary's Girlhood),
plus eight other choral movements that could be performed separately.
(x) Conclusion
The scores as found to date have now been passed to the Royal College of
Music, as has the printed collection. Copies (microfiche and photocopy) of
the original manuscripts-except for the two published compositions, Piano
Sonata No. 3 (Lynwood Music) and Meditation on themes from Emanuel Móor's
"Suite for 4 cellos" (Bardic Edition)-have been made and distributed to other
institutions, such as the BMIC and the British Library in London, and
Huddersfield University. The Royal College will retain the manuscripts for
the indefinite future. Some scores remain to be found: definitely finished
articles such as the Tenth Piano Sonata or the choral Hymn on the
Passion, as well as others whose existence is more speculative, such
as the two symphonies from the 1930s. Gaps still remain in Truscott's composing
career, particularly in the 1930s, the early 1950s (up to 1955) and the late
1970s. Considerable further research and analysis of the music itself is
required, which may well overturn many of the provisional findings I have
drawn up here. Without external funding, this will be a very slow process.
Parallel with recovery as a priority is performance. The Altarus LPs in the
1980s, worthy as they were, failed to ignite sustained public interest, partly
due the advent of CD at the time and its subsequent popular take-up. These
recordings have never been reissued in the new format, so the two Marco Polo
CDs, both initiated as projects before Truscott's death, are now the
standard-bearers of his reputation in accessible format. The transfer to
CD of the BMS cassette of Piano Sonatas Nos. 6 & 17 is also highly desirable
for the same reason. The inclusion on the orchestral disc of one of the newly
discovered works, the Elegy, could in itself provide impetus to the
recovery and consolidation process; its potential in purely commercial terms
is particularly promising though as at yet unfulfilled.
Guy Rickards
Footnotes:
-
Nos. 3, 5-7, 9, 11-13, 15, 17 by Peter Jacobs, cf.
Tempo 153, 158, 171. John Ogdon recorded No. 10 for Altarus in the
late 1980s (not issued), having premiered it (& No. 7) on Radio 3 in
August 1969; Donna Amato premiered Nos. 4 and 8 in October 1989 (with a further
performance of the latter in 1990). The composer himself played Nos. 1 and
2 in the late 1940s at recitals of the Exploratory Concert Society; their
subsequent performance history is unknown, but they are unlikely to have
been given in public in the last quarter-century. Nos. 14 and 16 appear never
to have been heard (an Eighteenth, co-eval with No. 17, was never completed).
-
I.e. the set of 12 Bagatelles, known
since the early 1960s as No. 1 but billed in Radio Times in February
1954 as "No. 2". The original First had been composed in 1948 or 1949, at
much the same time as the Bagatelles, and is thought to be that work
recast in 1955-6 in a much expanded form as the Sixth Sonata (cf. the composer's
notes accompanying Peter Jacobs' recording of Sonatas 6 & 17, BMS 410).
Margaret Truscott informed the present writer that around 1949 she attended
a composition class given by Benjamin Frankel (1906-73), one of her exercises
being to compose some bagatelles. This may well have sparked off Truscott's
own set, although it would seem to be the only occurrence of such an influence:
the two composers maintained a distance from each other, not least due to
a disagreement over Nielsen's merits as a composer.
-
Colleagues at the faculty of music included Wyndham
G Williams (former Head of Department), Peter Clare (the present Head), the
composer Arthur Butterworth and Richard Steinitz (present director of the
Huddersfield Festival). The three last-named were contributors to a collective
suite of variations (on an Albumblatt in G of Schubert's) written in honour
of Truscott's retirement in July 1979.
-
counting the two Preludes and Fugues as two distinct
opera. If the nine songs, arranged in three groups of two, five and two
respectively, are counted individually as nine works, the total rises to
50.
-
I once asked Truscott whether he had ever written
a string quartet. He replied categorically, "No."
-
The bound full score shows dates of August 1949-January
1950 on the final page, under the composer's signature.
-
From the late 1950s until his retirement in 1979,
Truscott was working full time in Huddersfield but his family remained in
Deal on the Kent coast, a distance still impractical to commute.
-
The dates on the manuscript of the B flat are those here assigned to the
E minor, of which I have otherwise found no trace. The C minor quartet was
actually written in 1945, not 1947.
-
It is by no means out of the question that the three early sonatas "written
around 1940", or others in progress (such as one in E flat which was begun
in 1939 and worked on intermittently in the 1940s and 1960s, or the 1963
Sonata for the left hand that I found in a sketch book), could have been
in his mind, in which case an earlier provenance should be inferred.
-
This made the "excavation" of his own music even more arduous, since there
were one hundred manuscripts in his own hand of other composers' works jumbled
up with his own works and his printed collection. Several had become separated
from their title pages (such as of a sinfonia by one of the Stamitzes), leading
to some short-lived wild speculation about even more unknown Truscott!
-
One incidental repercussion of the committal was that Harold was removed
from school just weeks before his school examinations: the 1930 equivalent
of the 'O' Level/GCSE examinations of today. On his return from a further
6 weeks' "convalescence" in Kent, re-admittance to his old school seems not
to have been an option and Truscott found himself adrift in a heavily overcrowded
employment market.
-
conducted by the then Music School Head, Wyndham Williams.
-
Just to confuse matters further, I later found a quite separate set of 5
piano Preludes, but as these were written in ballpoint almost certainly date
from after 1957.
-
one sketch gives the key of the Grasmere as F major, so-unless there
were two F major symphonies under way during the mid-to-late 1930s-its
identification with the second of the two early symphonies in "B" would appear
safe; Laughter in the dark records that the title was later excised.
-
Attempts to trace Barbara Campbell or her heirs have proved thus far fruitless.
Laughter in the dark relates that Miss Campbell, of the Cumbrian
Presbyterian faith, was the daughter of a wealthy butcher, or meat merchant,
resident in Keswick though her father owned or administered three butcher's
shops in the area. The connexion with Grasmere arose because the family had
a holiday or second house near the lake, where Truscott stayed. Enquiries
at Cumbria County Council failed to locate any record of a butcher or equivalent
enterprise owned by a Campbell, but did reveal that during the 1930s two
brothers with the surname Cartmel (a common enough local name connected no
doubt with the famous priory of Cartmel in what was then Westmorland) did
own a butcher's shop at No. 6, St. John's Street, Keswick (now a Next
boutique!). No further record was forthcoming, and my attempt to contact
the fourteen surviving Cartmels in the Cumbrian telephone directory was met
with absolute silence (except for the return of one letter marked "Gone away").
-
This might explain the bound score's lack of title page-if written out originally
as "Symphony No. 2 in E major"-the later rejection of the E minor leading
the composer to suppress any thought of a predecessor. This is however totally
speculative, with little chance of any proof turning up.
-
From verses 16-17.
-
The oboe was an instrument which featured much in Truscott's thinking at
this time, partly due to the presece of a gifted student player, Glyn Butler.
Truscott had already completed a Sonata in 1965, and the following year began
and abandoned a set of Five Pieces with piano accompaniment; in the same
year as this concerto he completed the first movement of a Trio for 2 oboes
and cor anglais. Only sketches remain of movements 2 and 3.
-
i.e. one year after he terminated his studies at the RCM. The Fugue was evidently
not an academic exercise from Howells' class.
-
This was news to the dedicatee, a long-standing friend of Truscott's, when
I informed him of it in 1993, although he and Truscott must have only recently
met at the time this work was being written.
-
The completed status of the F major Sonata of 1941-2 must remain debatable.
It has a fast-faster-slow disposition, and while there is a fragment of a
quick fourth movement, it may well be that Truscott was content to leave
the work in three.
-
One of these was apparently undertaken as a piano
concerto-Truscott would have then been 14 or 15-but developed far enough
as a solo work for the budding composer to play it at home for some of his
relatives (not his father, however).
-
Unlike Tippett, Truscott would not have needed the example of Hindemith's
Sonata for 4 horns in 1955 to have tackled a piece for a quartet of horns,
being aware of earlier examples such as Schumann's Konzertstück.
However, it cannot be ruled out that either the Hindemith or Tippett triggered
this abortive project.
-
"E" suggests that this was in c. 1959, but "B" is more categoric with 1965.
Given the closer proximity of "B" to the premiere, I am inclined to follow
it in preference to the much later list. (May 1965 is also given elsewhere.)
However, it must be borne in mind that "B" gives the years of composition
of Violin Sonatas Nos. 3, 4 and 5 incorrectly as 1957, 1957 and 1958
respectively, out in each case by roughly two years.
-
I have as yet not the slightest notion of who "Melanie" was-if indeed a real
person. There are at least three separate manuscripts of the two songs (the
untitled last dating from 1978); one of the early ones bears the curious
title variation Songs from the Melanese. I cannot identify the source
of the name. (It does not obviously relate to the modern Pacific state of
Melanesia!)