Gordon JACOB (1895-1984)
Complete Music for Viola and Orchestra
Viola Concerto No. 1 in C minor (1925 rev. 1976)
Concert Piece for Viola and Orchestra Edited by John White (1977)
Three Pieces for Viola and Orchestra Orchestrated by Graham Parlett
(1930 orch. 2010)
Viola Concerto No. 2 (with string orchestra) (1979)
Passacaglia Stereophonica (1960)
Helen Callus (viola)
BBC Concert Orchestra/Stephen Bell
rec.: St Jude-on-the-Hill, Hampstead Garden Suburb, London, 13-15 July 2010.
DDD
world premiere recording
DUTTON EPOCH CDLX7258 [73:36]
This CD is the second from Dutton featuring works exclusively by Gordon Jacob.
A few years ago they released a CD of chamber music (mainly for oboe) played
by Sarah Francis and other distinguished musicians. It is about the eleventh
or twelfth to be devoted entirely to his music produced by record companies
worldwide.
Its title is a little misleading because only the two concertos, written over
fifty years apart, and the Concert Piece fit the description. The Three Pieces
for Viola were written originally with piano accompaniment but they have been
orchestrated especially for this recording, and tastefully too, by Graham
Parlett. This version is most effective, but - and this is an observation,
not a criticism - one is curious to learn why this particular work was chosen,
because there are many more viola pieces that were penned by Gordon Jacob
over his years as a composer. The distinguished viola player and teacher John
White, for whom Jacob wrote several works including the Concert Piece, had
a long association with the composer and in his book “An Anthology of British
Viola Players” comments that: “…(Jacob’s) contribution to the viola repertoire
is second only to the works of Hindemith.”
The soloist, Helen Callus, was born in England but now resides in the USA
where she is Professor of Viola at the University of California. She has gained
a considerable reputation as a violist and has been praised for her performances
around the world (see
review). The BBC Concert Orchestra, too, has a most distinguished history
and Stephen Bell, originally a horn player in that orchestra, is now in great
demand as a conductor. In the past he has recorded a performance on CD of
Jacob’s first Oboe Concerto with Ruth Bolister as soloist (see
review).
The 1925 Viola Concerto was Jacob’s first in this genre. It uses full
orchestra and is in one movement, though with three distinct sections, the
middle one ending with a cadenza. As Lewis Foreman states in the CD booklet:
‘Jacob’s aim was to exploit the dual nature of the viola, “rugged and virile”
and “gentle and singing”.
These characteristics are clearly present in this work. Though Jacob’s music
is generally described as neo-classical, this concerto reveals a romantic
side, though it is never over-sentimental or cloying; that was not in his
nature.
After two early performances in the 1920s and a 1970s broadcast by Harry Danks,
the work has been ignored until now when its mixture of lyricism and grittiness
can be once again displayed. According to a comment on the Dutton website,
those involved in the recording wondered why it had been neglected for so
long.
The Concert Piece (edited by John White) is essentially another concerto
but I suspect the reason that Gordon Jacob did not call it so is because structurally
it is a set of variations on a theme. He used, for the most part, classical
forms in his music and to him, I guess, variations are not a concerto!
It is a most moving piece with some folk-like melodic influence in parts and
plenty of contrasts, with some powerful passages for both soloist and orchestra.
It is quite beautiful, melodious and flows effortlessly without a break, apart
from a brief general pause, from beginning to end.
The first of the Three Pieces is a serene Elegy which gives
way to a tranquil Ostinato that becomes more intense, with a delicately scored
accompaniment of muted violins and violas. The final piece, Scherzo,
is in complete contrast, very lively and strongly rhythmical overall.
I have a particular fondness for the Second Viola Concerto, written
as a test-piece at the suggestion of John White for the first International
Viola Competition. This was held in the Isle of Man in 1980 to commemorate
the artistry and achievements of the world-famous violist Lionel Tertis who
had died at the age of 98 some five years earlier. The winner (19 year old
American Paul Neubauer) gave the first public performance with string orchestra
early in 1981 as part of his prize. This was in the presence of the composer.
I attended that performance, which was recorded and broadcast the following
August. I remember recording the transmission at the request of Gordon Jacob
so that he could have a copy. He wrote to me later to say that it was one
of his favourite pieces.
In four movements, the concerto explores virtually every technique that the
instrument and soloist are capable of demonstrating. The accompaniment is
a true reflection of Jacob’s “refusing to add a single note to his scores
beyond the exact limits of what he wishes to express”, as once commented by
the music critic Robin Hull. This work is a gem with a variety of mood. The
calmness of the first movement gives way to a buzzing scherzo, while the short,
intermezzo-like third movement ends with a haunting duet between the viola
and a solo cello in the orchestra – quite magical. The lively and sometimes
boisterous finale makes for a fitting conclusion.
On this CD I thought I detected discrepancies between a couple of played notes
and what was in my score. The final movement was a bit slower than the crotchet=116
given by the composer; a touch faster would make it even more exhilarating.
However, these are minor criticisms.
The second “odd man out” is the Passacaglia Stereophonica for
orchestra, in which violas appear only in the orchestra's string section.
I believe that the original “filler” was to have been the early tone poem
The Piper at the Gates of Dawn, not heard for years. I suppose at twelve
minutes it was too long, but the three minute Passacaglia is a fun
substitute. It shows off the sections of the orchestra and some individual
instruments and was composed especially for early experimental stereo broadcasts.
It was played in 1960 as a test transmission in stereo, with one channel on
TV and the other on radio, and as a poor student I remember being able to
hear only the latter channel!
These viola works are most expressive and are, long overdue, an important
addition to the viola repertoire. At last, Gordon Jacob’s music is being reassessed
and valued for its quality. The performances are excellent. Helen Callus plays
with great conviction and sensitivity and her interpretation of the music
is soundly based. She has a lovely lightness of touch when required and can
summon up great power and gravitas in the dramatic passages. Stephen Bell
and the BBC Concert Orchestra are worthy performers too. The recording quality
is first class with a wide dynamic range that does justice to the music.
One has only to scan the catalogue of Dutton Epoch to realise the great service
this company has done for British music and this latest release will surely
be another feather in their cap.
Dr Geoff Ogram
Another feather in the Dutton cap.