Frank Bridge –
Phantasie in F minor
Centenary and
Confusion
On 22 June 1906 the Saunders String
Quartet gave the first performance of
Frank Bridge’s Phantasie in F minor
for String Quartet in the Bechstein
Hall - now the Wigmore Hall. When this
event is seen in the light of the Mozart
250 celebrations it is probably rather
insignificant. But in reality there
is one important fact to bear in mind
about this date and, interestingly,
there is a web of confusion about the
Bridge piece.
The recital given exactly one hundred
years ago was the first in a series
of concerts resulting from the huge
encouragement given to chamber music
by Walter Cobbett yet within the commentaries
written by the experts there seems to
be a lack of consensus as to what was
played, when, and what prize was won
by whom.
Walter Willson Cobbett (1847-1937)
wrote in his Cyclopedic Survey of Chamber
Music, "In 1905 I instituted a
series of chamber music competitions,
mainly designed to bring to light the
talents of young British composers and
to encourage the occasional adoption
of a short form of ensemble music."
This was to lead to a huge number of
scores being submitted over the years
and followed by a number of commissions.
The prizes were largely from Cobbett’s
own pocket – but were enthusiastically
supported by the Worshipful Company
of Musicians. A number of later famous
and many now long-forgotten composers
made their first impressions in one
of these competitions. The better-known
include Herbert Howells, Benjamin Britten
and Eugene Goossens.
The subject of the first competition
in 1905 was the composition of a "Phantasy"
for string quartet. The piece was required
to be fairly short and typically performed
without a break, although the composer
was free to design the work with different
sections each having various tempos
and rhythms. The ‘new’ form that Cobbett
proposed was deliberately spelt in an
archaic manner and this nodded to the
old English ‘Fancy’ or ‘Fancie’ which
was a popular instrumental form prior
to the Stuart period.
This first competition generated a
fair number of entries – there were
some 67 manuscript scores submitted.
Eight of these were short listed and
presented to the senior adjudicator,
Sir Alexander Campbell Mackenzie for
final selection. These were further
reduced to six – all of which received
a first performance by the Saunders
String Quartet on 22 June 1906 in the
Bechstein Hall. The six winners were
William Hurlstone, Haydn Wood, Frank
Bridge, Josef Holbrooke, Waldo Warner
and James Friskin.
This is where the confusion begins.
Paul Hindmarsh in his indispensable
‘Catalogue’ states that the first prize
of £80 was awarded to Hurlstone and
the second, of £20 to Frank Bridge.
He implies that the third prize, £10,
went to Holbrooke. Interestingly Cobbett
states that the first prize was £50.
But more seriously Edwin Evans, writing
in the Cyclopedic Survey [p.188] states
that Haydn Wood won the second prize
– with Bridge coming third. Incidentally
the awards were presented by Cobbett,
the Worshipful Master and Mr Hermann
Sternberg in descending order. The resolution
of this disparity will depend on future
investigations into Cobbett and his
unique contribution to British musical
life. However most of the references
cited below consider Bridge
to have won the second prize.
It is established, I think beyond doubt,
that William Hurlstone (1876-1906) took
first prize in the first Cobbett competition
in 1905. Cobbett himself writes about
this work, "… it may be considered
a lucky happening that the series of
phantasies should be inaugurated with
a work so truly representative of genuine
chamber music."
The Quartet is designed with
four short movements, but the entire
work is derived from a few themes that
are transformed throughout the piece.
Cobbett notes that William Hurlstone
was a classicist and states that Brahms
is never far away from this piece. Interestingly
Cobbett is not impressed with the finale
which he suggests is "a little
scrappy" although he considers
that perhaps Hurlstone did not have
"space enough for the leisurely
development of material to which he
naturally leant". Finally he is
in no doubt that "the string quartet
writing is perfect throughout".
Of course it is always difficult to
discuss works that have not been heard
for a number of generations but it appears
that the Haydn Wood’s Phantasy String
Quartet in F major was well
received. Cobbett noted that the work
was "so full of charm that one
cannot help regretting that the composer
turned aside from chamber music and
gave his attention to music of a more
ephemeral kind."
In 2006 we are able to view Haydn Wood's
life and works in context. It is true
that he went on to write a number of
pot boilers – Roses of Picardy
and a piece many people remember as
the theme to the BBC programme 'Down
your Way' - the March: Horseguards,
Whitehall.
Yet we have a number of impressive,
challenging and more substantial works
from Wood’s pen – such as the Piano
Concerto in D minor, the Philharmonic
Variations for Cello and Orchestra
and the orchestral rhapsody Mannin
Veen (Dear Isle of Man). There is
a tantalising ‘Variations on an Original
Theme’ which appeared in 1903: we
must assume that Elgar’s set was the
‘model’. It must not be forgotten that
Haydn Wood studied with Stanford at
the Royal College of Music. It is, then,
perhaps less than fair to suggest that
Haydn Wood abandoned ‘concert’ music
entirely for so called ‘light’ music.
Stylistically, we are to understand
that the Phantasy was not in
the ‘academic’ manner and nodded in
its style and
tone towards Dvořák. It is safe
to insist that these characteristics
never really deserted Haydn Wood. Fortunately
it is possible to get a good impression
of Wood’s Phantasy: it
was reworked by the composer into his
Fantasy-Concerto of 1949. It
is certainly a work that seems, on the
strength of contemporary reviews and
the 1949 redaction to deserve reviving
– at least for its premiere recording.
Harry Waldo Warner (1874-1945) is a
name little known these days. Yet in
the early years of the twentieth century
he wrote a number of successful chamber
works. Perhaps the most prestigious
success came in 1921 with the winning
of the Coolidge prize for his Piano
Trio. This was for a $1000 – probably
about £250.
However the earlier Phantasy Quartet
of 1905 work has Brahms in the background.
It was apparently in the ‘usual’ Phantasy
form with a slow central section. Cobbett
reckons that is was still largely a
student work but notes that the London
String Quartet had it in their repertoire
for a number of years. Finally he suggests
that is unlikely to be revived.
The other works that are noted in Cobbett's
Cyclopedic Survey of Chamber Music are
James Friskin’s (1886-1967) Phantasy
String Quartet in D and Josef Holbrooke’s
(1878-1958) Phantasy String Quartet
in D minor Op.17b.
Friskin’s offering was felt to have
had a ‘delicacy of feeling.’ Holbrooke’s
work was written in three connected
movements that were subtitled Departure,
Absence and Return. Cobbett
wrote that the "themes are fine,
and (unlike some works of the composer)
there is no falling off in the last
movement." Of course, we are lucky
to have a fine recording of the Holbrooke
– released on Dutton Epoch CDLX 7124.
Rob Barnett has written that this Quartet
"…is a smooth and highly polished
essay in which Brahmsian treatment and
Mozartian abandon meet with material
seethingly Elgarian and full of life."
Curiously the CD liner notes for this
CD seems to disagree with both the chronology
of the first Cobbett competition and
with the number of entries submitted.
When we come to investigate what recent
scholarship has said about Frank Bridge’s
Phantasie in F minor for String
Quartet we are on very shaky ground
indeed.
Firstly, and in chronological order,
there is no mention of the present work
in Peter J. Pirie’s book ‘Frank Bridge’
(1971). He begins his survey of Bridge’s
music with the Phantasie in C minor
for violin, cello and piano of 1907.
A perusal of Lewis Foreman’s ‘Catalogue
of Works’ published in ‘The Music of
Frank Bridge’ (1975) finds references
to three ‘Phantasies’ of one sort or
another.
The first (chronologically) mentioned
is the Phantasie for String Quartet
in F sharp minor (6 May 1901 – 21
July 1901). Foreman claims that this
work had the parts published in 1906
by the [Worshipful] Company of Musicians.
Yet he suggests that the first performance
of the work was at the Royal College
of Music on 4 December 1901. So this
cannot be Frank Bridge’s entry to the
first Cobbett competition of 1905.
The second work that Foreman mentions
is the Phantasie in C minor (for
violin, cello and piano) which was
written in 1907 and was finally published
by Novello in 1909. This is probably
better known as the Piano Trio No.1.
And finally there is the Phantasy in
F sharp minor (for piano quartet)
which was completed on 2 June 1910.
This was published by Goodwin &
Tabb in 1911 and republished by Augener
in 1920.
So no one of the above works mentioned
by Lewis Foreman appears to be our Phantasy
in F minor for String Quartet of
1905.
Turning to the contribution by Anthony
Payne in the same book, he mentions
the profound influence that the Cobbett
competition philosophy had on Frank
Bridge. On page 10 he points out that
three of Bridge’s early chamber works
were entered for the competition: the
Phantasie String Quartet (1901)
the Phantasie Piano Trio (1907)
which took first prize –and the Phantasy
Piano Quartet (1910). Payne thus
preserves Foreman’s chronology.
In Payne’s book ‘Frank Bridge – Radical
& Conservative’ (1984) the author
gives the same dates for the three Phantasies
cited the text in the earlier volume
to which he had contributed.
Finally the MusicWeb
composer page Frank
Bridge perpetuates Foreman’s contention
that the key of the first Phantasie
was F# minor although it does gives
the date as 1905. And what is more this
page suggests that Bridge took 1st
prize!
If we investigate Paul Hindmarsh’s
definitive ‘Thematic Catalogue’ we find
the Phantasie in F minor was
composed in 1905. In fact Hindmarsh
has examined the holograph and states
that the score was ‘probably’ completed
between July and September of 1905 –
just before work commenced on the First
Book of Organ Pieces. He allocates
the Phantasy with the catalogue
number of H55.
A brief look at Bridge’s compositions
for the year 1901 reveal only
two chamber works – a Scherzo Phantastick
for two violins, viola and cello
(H6) and a Quintet in E minor for
strings (H7). There appears to have
been no phantasy string quartets produced
in that year.
It is, I feel, highly unlikely that
Foreman was confusing the Phantasie
in F minor with the Scherzo Phantastick
or any other work. I fear that it may
have been a misprint that became canonical
for a number of years. The confusion
over the key of the work appears to
derive from the fact the Bridge did
compose a Phantasy in F sharp minor
– but not until 1910 – and that work
was in fact a piano quartet.
Finally Keith Anderson in the sleeve-notes
for the Naxos recording of the Phantasie
in F minor quotes both the correct
key and the correct date (to Hindmarsh’s
reckoning). This is followed in the
latest edition of Grove.
So for future reference it is important
to tabulate the results of this brief
investigation. I will follow Hindmarsh.
Phantasie in F minor for
String Quartet H55 1905
Phantasie in C minor for violin,
cello & piano [Piano Trio
No.1] H79 1907
Phantasy in F sharp minor for
piano quartet H94 1910
A few notes on Frank Bridge’s Phantasie
in F minor for String Quartet H55 will
be of interest to listeners. Payne observes
that Bridge exploits the ‘arch-shaped
structure.’ He goes on to say that the
quartet is ‘little more than a short
traditional structure in which the three
movements are connected by rudimentary
links.’ In fact, the recording by the
Maggini String Quartet has very short
but quite obvious breaks between the
movements.
The work opens with the strongest movement
- an ‘Allegro Moderato’ which is based
on an arch shaped sonata form. The key
to this is that the second subject or
theme is recapitulated before the restatement
of the first subject.
This first subject is a stirring tune
that is initially given out in unison
before being heard supported by detached
chords. Then the most attractive theme
of the work is presented. Evans, quoting
Cobbett, describes this tune as being
"a delicious sort of crooning,
accompanied by simple arpeggios on the
cello." There is no doubt that
this idea is the emotional heart of
the work. After a little bit of interesting
and quite involved development the second
subject returns followed by the opening
music. The ‘Allegro Moderato’ ends with
a short coda. This is an extremely logical
and satisfying and quite lovely movement.
The ‘Andante Moderato’ is in ternary
form and is really a meditation on the
gorgeous violin melody that dominates
this movement. This tune has touches
of Dvorak whilst the accompaniment nods
to Delius without any suggestion of
pastiche. The first and second violins
explore the depth of this music in a
contrapuntal duet that is expressive
and quite romantic. After some interesting
key changes the theme is played ‘con
sordino.’ The movement ends with a partial
restatement of the main theme.
Edwin Evans did not feel that the finale
reached the same standard as the two
proceeding movements, although he conceded
that the work ‘finished brilliantly.’
The ‘Allegro ma non troppo’ is in ‘short’
or abridged sonata form. The opening
theme is strong but somehow manages
to have an air of wistfulness at the
same time. This is perhaps out of character
with many ‘final’ movements. Yet it
can be said that at times this tune
fairly trips along. Soon it slips into
the lovely second subject given out
by the violin. There is short development
section before the work ends with the
main theme. There appears to be certain
cross-references back to the first movement
here, but whether they are structural
or not is a matter of opinion. The work
ends strongly.
The Phantasie in F minor for
String Quartet may not be a work
of genius: it may not present the listener
with fingerprints of Frank Bridge’s
future style. Yet as a short chamber
work that is approachable, well crafted
and thoroughly enjoyable it deserves
better exposure than it has had heretofore.
Finally, I wonder if an enterprising
CD company would consider embarking
on a series of ‘Cobbett’ discs – concentrating
on the winners but not forgetting some
of those composers that were ‘placed’
and maybe even one or two also-rans.
It seems to me that there is a great
wealth of music here waiting to be explored
in depth.
Discography
Frank Bridge - Works for String quartet
including Phantasie Quartet in F minor
H55
Naxos 8.553718 Maggini Quartet 1995.
Joseph Holbrooke – Chamber works including
the (Ph)[F]antasie in D minor Op.17b
Dutton Epoch CDLX 7124 The Rasumovsky
Quartet 2002 review
Haydn Wood- English String Miniatures
including the Fantasy-Concerto
Naxos 8.555068 English Northern Philharmonia
conducted by David Lloyd-Jones review
Short Bibliography
Cobbett's Cyclopedic Survey of
Chamber Music Volumes 1 & 2 W.W
Cobbett OUP London 1929/ 1963
Frank Bridge Peter J Pirie Triad Press
London 1971
The Music of Frank Bridge – Anthony
Payne, Lewis Foreman and John Bishop
Thames Publishing London 1976
Frank Bridge Radical & Conservative
– Anthony Payne Thames Publishing London
1984
Frank Bridge – A Thematic Catalogue
– Paul Hindmarsh Faber & Faber London
1983
MusicWeb
Frank Bridge pages
John France June 2006
