The ability to programme
smaller works of major composers effectively
into a 70- or 80-minute programme was
seemingly one of Lyrita’s defining strengths.
The present disc is a case in point,
the whole given a special stamp of authority
by Imogen Holst’s fervent conducting.
The Fugal Concerto,
for flute, oboe and strings, is a light
but craftsmanly piece, impeccably played
on this occasion by William Bennett
and Peter Graeme (the rhythmic unisons
of the finale are a delight). The cheeky
end is a sure pointer to the composer’s
sense of humour. Interesting to note
that on first reception the work was
received as rather dry (this was the
time of neo-classicism), yet viewed
from today it appears anything but.
There is in fact another double concerto
on the disc, that for two violins and
orchestra, dating from six years later
and written for Adila Fachiri and Jelly
d’Aranyi. The work is in three thematically-linked
movements and it is hard to imagine
two more committed soloists than the
well-loved Emmanuel Hurwitz and Kenneth
Sillito. The first movement is interesting
for its sudden blossomings of lyricism
in rather angular surroundings, while
the slow movement, marked ‘Lament’,
is truly music of a private world, an
interior duologue. It represents a real
double concerto, too, in that the lines
entwine. Strangely, as far as balance
is concerned, one violin seems distinctly
more forward-placed in the finale than
the other.
The Lyric Movement
is a real highlight of the disc, not
least because of Cecil Aronowitz’s staunch
advocacy. Imogen Holst, in her booklet
notes, refers to it as ‘one of the best
and least known of my father’s works’
and it would certainly appear to deserve
wider currency on this evidence. Aronowitz
plays with real lyric feeling, the plaintive
sound of the viola’s upper reaches carrying
much emotion. Viola players (and, indeed,
concert promoters) should take note:
this is an extended, hypnotic meditation.
The hyper-delicate ‘Nocturne’ (from
A Moorside Suite), here arranged
for strings, makes a similar impression.
Holst wrote a choral
ballet in 1926 for his pupils at Morley
College and at St Paul’s Girls School
(for open-air performance) called The
Golden Goose. Holst approved a concert
version, minus chorus – Imogen Holst
cut the piece further and toned down
the orchestration for the more civilised
environs of a concert hall (or, indeed,
a recording studio). The work now lasts
around a quarter of an hour. A distanced
(off-stage, presumably) solo trumpet
initiates activities, before the work
opens out into more overt jollity. There
is much robust rhythmic writing here.
Holst’s landscape is painted in bright
(if not quite primary) colours, leading
to a vigorous finale. This performance
has all the vitality one could wish
for.
Brook Green Suite
is well-loved Holst, written for the
junior orchestra of St Paul’s Girls’
School in Brook Green, London. It is
a confident work, frequently delightful.
The finale, especially in this performance,
brims over with rustic energy and enthusiasm.
The Two Songs without
Words, Op. 22, that opens the programme,
is contemporary with A Somerset Rhapsody.
Dedicated to Vaughan Williams, both
Songs reveal the approachable side of
the composer. There is some lovely oboe
playing in the first piece here.
Finally, the Capriccio
was originally written in response to
a request for a short radio piece for
concert band. Since 1952, it languished
in the British Museum. That is, until
Imogen Holst ‘rescued’ it in 1967 by
adjusting the scoring for orchestra.
From the lovely calming solo string
opening, the piece works itself up into
festive music of great wit scored with
a feather-light touch. It is the perfect
way to end a disc that mixes the familiar
with the less-familiar in such a convincing
fashion.
Colin Clarke
See MusicWeb
Holst pages
The
Lyrita catalogue
bWilliam Bennett (flute); bPeter
Graeme (oboe); cEmmanuel Hurwitz, cKenneth
Sillito (violins); dCecil Aronowitz
(viola); English Chamber Orchestra/Imogen Holst.
