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Joseph HOROVITZ (b.
1926)
Concerto for Clarinet and String Orchestra (1948, rev.
1956)†
Concerto for Euphonium and Chamber Orchestra (1972, rev. 1976)
Concerto for Violin and String Orchestra (1949-50)†
Jazz Concerto for Piano, Strings and Percussion (1965)
Jeremy Brown (bass); Matt Skelton
(percussion); Fiona Cross (clarinet); Steven Mead (euphonium); Andrew Haveron
(violin); David Owen Norris (piano)
Royal Ballet Sinfonia/Joseph Horovitz
rec. Cadogan Hall, London, 13-14 September 2006, Angel
Studios, London, 14 November 2006
†
premiere recordings DUTTON
EPOCH CDLX7188 [74:41]
The Viennese-born émigré composer
Joseph Horovitz made his home in England and absorbed its
essence through his pores. He was a student of Gordon Jacob
at the RCM and of Nadia Boulanger in Paris. His music demonstrates
more in common with Jacob than with Boulanger. Theatre,
ballet, opera and broadcast conducting posts made for a
rewarding apprenticeship. There are sixteen ballets including Alice
in Wonderland for Festival
Ballet (1953), nine concertos (oboe, trumpet,
clarinet, bassoon, euphonium, tuba, violin, percussion,
jazz harpsichord/piano), various
orchestral works, five string quartets, a clarinet Sonatina,
the Horrortorio (1959),
a Hoffnung commission (familiar from the EMI Hoffnung set)
but let’s not forget the other Hoffnung special, the
cantata Bournevita, Captain Noah and His Floating
Zoo (1970), and Summer Sunday (1975), an ecological
cantata and an oratorio Samson. Most recently there
has been an opera Ninotchka.
No symphonies from this adopted Briton.
That fits with the profile of his teachers
Jacob and Boulanger. Jacob wrote several
but he was much more attuned to concertos,
suites and chamber pieces. These concertos
present Horovitz as something of a chameleon,
such is their variety. The Clarinet
Concerto is lyrical, lucid and makes
free with the accustomed woodnotes amid
the capering maenads and satyrs. It’s
from the same year as the Finzi and
has that communing luminous impulse
in common although Finzi would not have
infused the sauntering finale with such
jazzy informality. The Euphonium
Concerto is grippingly determined
yet exploits the considerable singing
heart of the instrument. There’s no
buffoonery here especially not in the
Lento whose long-spun melody has the
lineaments of a modest yet sweetly intoned
carol. The finale has something of the
quality of Frankel’s Carriage and
Pair, carefree and slightly showy
yet not undignified in the manner of
a slightly whimsical 1950s British film
score. The Violin Concerto (1949)
is said by the composer – who should
know – to be strongly influenced by
the neo-classicism of Les Six. I am
not convinced. It seems to me to be
pretty romantic – even very redolent
of the Barber at times. The Adagio bears
something of the hand of Bach (1:49)
but there is a dignified voluptuousness
about both the orchestral skein and
the solo line. The humming tension of
the start of the folksy capering and
skipping finale shows off the excellent
work done by the Dutton engineers. The
Jazz Concerto exists in versions
for piano and for harpsichord. The title
prepares you for the most overtly jazzy
of the four concertos here. The keyboard,
bass and drums rhythm trio are active
prominently in the two outer movements
which have the mien of the Jacques Loussier
Bach of the 1950s and 1960s. The central
movement is a harmonically wayward Slow
Blues with something of the sultriness
of Gershwin’s Summertime and
the commercialism of Moon River.
Sultry, yes, but this also a cooling
episode.
We should not
forget Horovitz’s entertaining Captain Noah And His Floating
Zoo (1970) to words
by Michael Flanders Chorus with piano, bass and percussion.
This was first issued
on Argo LP ZDA 149 in 1972 and has now been reissued on Dutton
CDLF8120.
Discover Horovitz
the craftsman whose touching cantilena is as accomplished
as his jazzy lightness of being. Let’s now hear the other
concertos, please.
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