Percy Eastman FLETCHER (1879-1932)
Music for Organ - Volume 7
Festal Offertorium (1926) [5:15]
Prelude, Interlude and Postlude, Op.27 (1910) [10:15]
Grand Choeur Triomphale (1910) [4:05]
Andante con Moto (1927?) [1:45]
Festival Toccata (1915) [7:27]
Ronald Frost (organ)
The Passion of Christ (1922) [47:03]
The St. Ann Singers/Ronald Frost, Philip Asher (organ)
rec. St Ann’s Church, Manchester, 7, 9, 29 March 2006
DUNELM RECORDS DRD0260 [75:50]
I regularly play Percy Fletcher’s Parisian Sketch No. 2 ‘Bal
Masque’ on the piano. It is the sort of piece that sounds impressive
without really stressing my ‘Grade 6½’. Other music by
this composer is often hauled out of the ‘piano stool’ and given
an occasional airing. However, it was not until I heard his Elgar-inspired
Epic Symphony for brass band that I came to realise that there is more
to this composer than a string of ‘light’ musical numbers ideally
suited for the ‘end of the pier’.
A few years ago I came across Fletcher’s fine ‘Festival Toccata’
(which is included on this CD). I heard it with an innocent ear, and admitted
surprise at discovering who the composer was. So it came as a minor revelation
to discover that he had also contributed an important -if not major - cantata
called The Passion of Christ. This is a work that transcends the usual
church cantatas that used to fill the choir cupboards of so many churches.
It is something else to perform in Holy Week other than John Stainer’s
great - but hackneyed - The Crucifixion.
A few brief notes on the composer may be of interest. Percy Eastman Fletcher
was born on 12 December 1879 in Derby. His father was a professor of music
and his mother was competent on the violin, piano and church organ. Fletcher
naturally learnt much from his parents, but then continued with a private
musical education before moving to London. There he worked at a variety of
theatres including the Savoy, Drury Lane and The Prince of Wales. For some
seventeen years he was musical director at His Majesty’s Theatre in
the Haymarket. His works composed at this time included completing the score
of Frederic Norton’sChu Chin Chow, writing a sequel called Cairo
and then The Good Old Days which ran at the Gaiety Theatre during 1926.
Other compositions included a variety choral music including interesting-sounding
pieces such as The Walrus and the Carpenter,The Enchanted Island
and The Shafts of Cupid. The library catalogues show a great deal of
songs and ballads. I have noted the Epic Symphony; however he did compose
other pieces for that medium including Labour and Love.
It is a well-known aphorism that Percy Fletcher wrote more ‘light’
orchestral suites than the better-known Eric Coates. Certainly there seems
to be plenty to explore amongst such titles as Six Cameos for a Costume
Comedy, Rustic Revels, Sylvan Scenes, Woodland Pictures,
Three Frivolities and At Gretna Green. I await an album of some
of these pieces from an enterprising record company!
Percy Fletcher, although working in London, lived in Farnborough, Hampshire
for many years. He died from of a cerebral haemorrhage in Holloway Sanatorium,
Virginia Water on 10 September 1932.
The present CD includes music that is a million miles away from the ‘end
of the pier’. The opening ‘Festal Offertorium’ is a case
in point. This is a big, gutsy piece that deserves to take its place alongside
organ music by Harwood, Stanford and Harris as a powerful and confident example
of the Edwardian style. I am not convinced that the dating of this piece is
necessarily correct. I believe that it could be earlier than 1926 when it
was published in an album of organ pieces.
I loved the ‘Prelude, Interlude and Postlude’ Op.27 which dates
from 1910. This is a truly gorgeous piece. It does seem to be easier to play
than some of the big war-horses presented on this disc. However, they are
well written, with lovely tunes that are never dull.
The ‘Grand Choeur Triomphale’ is another great piece for use as
a recessional. It is a rousing flourish that fairly romps along; however there
are considerable contrasts between the different sections of ‘choeur’
and these are well reflected in the organ registration. It also dates from
1910. The ‘Andante con Moto’ is really a hymn tune prelude: however
the liner-notes omit to say which tune! It is a lovely piece, full of spine-tingling
harmonies and beautiful voicings on the organ.
The last of the organ works is the relatively well-known ‘Festival Toccata’.
It was published by Novello in an album called A Wedding Bouquet. Even
I have had a go at this - however with very little success. It is impressive
and should take its place with the great ‘toccatas’ of the world.
To my ear it is certainly as good as the better-known examples by Gigout or
Whitlock. Dating from 1915, it was dedicated to Edwin Lemare - composer and
sometime organist of Sheffield Parish Church - now the Cathedral.
The main event is the abovementioned cantata The Passion of Christ.
This was written in 1922. Philip Scowcroft, who writes the excellent liner-notes,
suggests that this ‘is one of those shortish sacred cantatas designed
for smaller, perhaps less-experienced church choirs.’ I agree with him
that there were hundreds of these products - I seem to recall something by
a chap from Warrington called T. Mee Patison (The Miracles of Christ?) being
sung at my Parish Church back in the nineteen-seventies. It was a wee bit
average.
The mood of Fletcher’s Passion is unbelievably far away from
the ‘Bal Masque’ and the orchestral suites. There is nothing ‘light’
or ‘whimsical’ about this well-wrought, deeply felt exploration
of Christ’s sufferings. The obvious referential marker is Elgar however,
I am with Scowcroft when he warns us not to expect another Gerontius.
The work is scored for chorus and organ with soprano, tenor and bass/baritone
solos. Fletcher has made use of congregational hymns; however he has followed
Bach’s practice of using pre-existing tunes. They are heard here in
Fletcher’s arrangement.
I enjoyed this Passion. There are many passages that are exquisitely
beautiful. It is a deliberately introverted and hugely spiritual offering
that deserves the occasional revival.
The CD has been well-produced with good sound quality reflecting the atmosphere
of St. Ann’s Church in Manchester. The liner-notes are excellent - if
a little short on information on the organ pieces. The words of the Passion
are given in full. The booklet also includes a detailed profile of Ronald
Frost B.Mus, FRCO, FRMCM, FRSCM, FGCM, FNMSM, FRSA and a shorter note about
Philip Asher the current Pilling Organ Scholar at St. Ann’s Church.
Asher plays the organ for the Passion.
Of importance to all organ enthusiasts is the essential history of the instrument,
complete with facts and figures and the all important ‘spec’.
I have noted before that the organ was not constructed by a Mancunian firm,
but the Salfordian Glyn & Parker in 1730. Such distinctions are important
in ‘Lancashire’; I loathe saying ‘Greater Manchester’.
The St Ann’s Singers are largely drawn from the ranks of the regular
church choir. They have devoted themselves to much music-making in the Manchester
area and have recently given performances of Fauré’s Requiem,
and works by Elgar and Bairstow.
Finally, the booklet includes a useful discography of Dunelm's Organ Recordings.
Many are on the present instrument in St. Ann’s however Frost has also
been active in other Lancastrian and Derbyshire churches.
This is a CD that deserves success. It has bravely explored uncharted territory
with The Passion of Christ; the organ pieces by Fletcher are not available
together on any other CD. I concede I have a soft spot for St Ann’s
Church for a variety of personal and family reasons however it is good to
see this pillar of Manchester music-making contributing to the revival of
one of the lesser-known composers from the first half of the twentieth century.
John France
Bravely exploring uncharted territory … the revival of one of the lesser-known
composers from the first half of the twentieth century.
Notes
1. From the Divine Art website (distributors of Dunelm) (August 2012)
We regret that due to serious illness at the Dunelm branch, we are currently
unable to produce any Dunelm titles in CD format, but hope that in due course
they will be restored to circulation.
2. From the editor
The excellent booklet notes that John France mentions are not available from
the download stores.