On Heather Hill Duo-Piano Discoveries from the British Isles
Music by York Bowen, Mervyn Roberts, Alan
Richardson and Hamilton
Harty
Bruce Posner and Donald Garvelmann
(pianos)
Olympia OCD680
The American piano Duo of Bruce Posner and Donald Garvelmann claim, on this
exciting disc, to have "discovered" a wealth of British pianism. I venture
to suggest that, for a great many listeners, the "discovery" will prove a
"revelation". For those of us who can (smugly) claim to have known this music
for years (with the exception of the Harty, which IS a revelation) the feeling
is more likely to be one of satisfaction that this music usually heard only
at intimate gatherings of cognoscenti, or at homely musical family
'get-togethers', is now to be heard in 'The Public Domain' (horrible expression
that Sorabji would have shuddered at!). It is only a matter for regret that
none of the composers represented is now alive to enjoy it.
Why such richly inventive and beautifully crafted music should now need to
be 'discovered' and in America is a mystery. These composers weren't in any
way "prophets" whose country should deny them honour? They belong fairly
and squarely to the opening span of the twentieth century in British music
and with a consummate sense of style, and a command of contrapuntal technique,
share the harmonic characteristics that were part and parcel of the musical
currency of the period in this country. They do not however in any way 'date'!
For reasons why this music should have an especial character and piano writing
of such a high quality (apart from the fact that they were all themselves
fine pianists) one must look to the teachers with whom they studied, and
the width of their education: Matthay (of whom one young student said "I
thought you only taught 'touch' and here you are teaching me music!") Craxton,
Arthur Alexander (himself a Matthay pupil), R.O.Morris and from the same
stable came also Dale and Bax
Of them all York Bowen was the most prolific, with a formidable body of piano
compositions, all approachable, but of a quality which prompted the perspicacious
Sorabji to describe it as "the finest English piano music written in our
time". (Mi Contra Fa) The disc's title is chosen from the elegantly contrapuntal
"On Heather Hill" of the Scot Alan Richardson. This might suggest a programmatic
element throughout (perhaps encouraged by Garvelmann's engaging programme
notes) but while this perhaps applies to the Harty, and to some extent to
the Richardson pieces, the other compositions are not really impressionistic
but have an almost classical 'rightness' of expression, an elegance that
is subtly delivered in the writing for the instrument. Richardson's music,
like Bowen's though less demanding technically, is very satisfying to explore.
The early Harty pieces a discovery perhaps recalling the long neglect of
Elgar's Concert Allegro with its quasi-Celtic overtones, is a big dramatic
work which Donald Garvelmann has prepared for this performance (the first
since 1902) Its opening gestures (hints of MacDowell?) suggest tragedy, wistfully
echoed in the subtle lyricism that follows. A more heroic aspect is developed
to end with positive affirmation altogether a 'discovery' and a valuable
contribution to the repertoire.
The darkest horse in the stable is Mervyn Roberts, a Welsh composer, all
of whose work shows a strong melodic impulse, often of a kind of Bach-like
spirituality, here underlined in the two published Chorales and in the
chorale-prelude-like tune of the Elegy. This melodic line is embedded in
very characteristic and deceptively adventurous harmony that lifts even his
shortest ostensibly 'teaching' pieces out of the schoolroom (to which so
much fine British piano music is too often relegated.) The programme note
makes a plea for his Piano Sonata (revised in 1949 and which won the Edwin
Evans prize in 1950) and I would underline that plea: a recording of that
fine work and the beautiful Variations on an original Theme for two pianos
(both Novello) is long overdue
The Duo's enthusiasm in their discovery of this music (and I can assure them
that there is lots more to be 'discovered') is communicated in their playing
crisp, clear and at times bordering on the excitable! I hope they will pursue
their quest!
Reviewer
Colin Scott-Sutherland
