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Ronald STEVENSON (b.
1928)
Rhapsody Three Lyric Pieces (1947–50) [16:33] Three Nativity Pieces (1949) [15.00] Symphonic Elegy for Liszt (1986) [14:15] A Carlyle Suite (1995) [19.13] Scottish Folk Music Settings for piano (c.1959-65)
[13.17]
Sheena Nicoll
(piano)
rec. The Whiteley Hall, Chethams School of Music, Manchester,
19-20 April 2006 DUNELM
RECORDS DRD0268 [78:18]
Whereas many composers of the twentieth-century
emphasised harmonic and rhythmic innovations,
the composer Ronald Stevenson
has always allowed melody a position of primacy in his music.
Perhaps ‘allowed’ is the wrong word - as if melody was an
unwelcome guest at the 20th century music table. On the contrary,
Stevenson cannot help being a melodist as can be readily
heard in the several hundred songs he has composed. This
new CD of piano works performed by a long-standing friend
and champion of the composer, Sheena Nicoll provides further
evidence of the lyrical strain running through Stevenson's
music.
By the mid-to late 1940s Stevenson was already composing
at a considerable rate. Dramatic and piquant works like the
first three sonatinas for piano and the Sonata forViolin
and Piano were written around this time, yet the Three
Lyric Pieces, written between 1947 and 1950 emphasise
melody to a greater extent. The first of them, Vox Stellarum,
contains some wonderful wide-spaced textures and flowing
double-note passages in the right hand. The harmony oscillates
between major and minor as if Schubert might have been the
model. Nicoll plays gently and calmly throughout as the melodies
unfold. The second lyric piece, Choral Prelude for Jean
Sibelius, was written in 1948. Stevenson sent it to the
composer and received an encouraging response by letter;
it is easy to see why since the piece is full of striking
ideas including a noble theme in D flat major that appears
after a mysterious introduction. Even more remarkable is
the final piece of the set, Andante Sereno, written
in 1950. I have listened to this piece many times and yet
new subtleties are revealed on each hearing; such maturity
for a composer barely out of his teens! The music begins
in duple time but later there is a subtle shift to quintuple
rhythm. Here Stevenson uses unusual scales in contrary motion;
a favourite device that resurfaces in the Symphonic Elegy
for Liszt heard later on the recording.
The Three Nativity Pieces were written in 1949
and again showed the young Stevenson's mature melodic style.
The first piece, Gold: Children’s March, is rather
jaunty with a clipped theme in dotted rhythm well marked
by the performer. The second piece is called Frankincense:
Arabesque, and contains subtle flourishes of unusual
harmony, the effect been somewhat mysterious. Myrrh: Elegiac
Carol is the final piece of the set. Its unusual title
describes perfectly the ambiguous nature of the peace as
if the death of the infant was already presaged in cradle.
Taken as a group these two sets of three pieces are highly
expressive and original. Their originality is quiet and not
iconoclastic.
Nearly 40 years separate Vox Stellarum from the Symphonic
Elegy for Liszt. This large-scale and ambitious work
seeks to encapsulate the many aspects of Liszt’s personality
through the symbolism of the seasons. This was the first
piece of sheet music of Stevenson I bought and was therefore
my personal introduction to his work. Unlike most of the
music on the Nicoll disc this work has been recorded before
in a virtuoso performance by Joseph Banowetz on the Altarus
label. Nicoll’s reading is somewhat cooler than Banowetz’s
yet the work still has a powerful effect.
Nicholl feels very much at home in the next piece on
the CD, A Carlyle Suite. This is not surprising since
Stevenson wrote the work for her in 1996 in response to a
commission from the Dumfries and Galloway Arts Association
to commemorate the two hundredth anniversary of Thomas Carlyle's
birth. Coincidentally Nicoll was then living in the town
where Carlyle was born, Ecclefechan. This unusual and intimate
work seeks to evoke a musical event in the life of Carlyle
and his wife Jane. There are references to Chopin and folk
melodies. The centrepiece of the work is a set of variations
on the King of Prussia’s theme (as used by Bach in The Musical
Offering). Here the composer traverses a short history of
musical styles ranging from Bach’s day to the 20th century.
Nicoll is alive to the shifts of gear inherent in such a
plan and renders the music not so much as pastiche but rather
as an affectionate tribute to the different styles as seen
through the Stevenson filter.
The final set of pieces is from Stevenson’s settings
of Scottish folk songs which occupied the composer during
the late 1950s and early 1960s. Stevenson inscribed these
settings ‘lovingly and reverently dedicated to Percy Grainger’,
in so doing mirroring Grainger’s identical wording in his
dedication to Grieg of his folk song settings. Stevenson
corresponded with Grainger and clearly sees his work as following
some of the older composers example. Like Grainger’s, Stevenson’s
settings contain much ingenuity within a simple framework..
This CD is a welcome release of the gentler side of
Ronald Stevenson’s art. Whilst lyricism reigns throughout
most of the music on CD, Stevenson’s characteristic rigour
of compositional thought is also apparent. As well as containing
essential music, this CD is also a touching record of a friendship
between composer and pianist that has lasted many decades.
All the music on the CD is published in excellent typeset
editions by the Ronald Stevenson Society. Much of the writing
eschews the virtuosity to be found in such works as Prelude,
Fugue and Fantasy or Le festin d’Alkan, thereby
making the pieces accessible to pianists of more moderate
abilities who wish to play for themselves works by this marvellous
composer. Anyone interested in twentieth-century piano music
should not hesitate to buy this CD and perhaps the scores
as well; there are rich rewards to be had from enjoying both.
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