Rediscovered: British Clarinet Concertos
Susan SPAIN-DUNK (1880-1962)
Cantilena (Poem) for clarinet and orchestra, Op 51 (1930) [11:32]
Elizabeth MACONCHY (1907-1994)
Concertino for clarinet and string orchestra (1945) [17:06]
Rudolph DOLMETSCH (1906-1942)
Concerto for clarinet, harp and orchestra (1939) [26:33]
Peter WISHART (1921-1984)
Serenata Concertante for clarinet and small orchestra (1947) [22:01]
Peter Cigleris (clarinet)
Deian Rowlands (harp)
BBC National Orchestra of Wales/Ben Palmer
rec. 28-30 November 2019, BBC Hoddinott Hall, Wales Millennium Centre, Cardiff
SIGNUM CLASSICS SIGCD656 [77:19]
This valuable disc results from an exploration of lost repertoire by the present clarinettist, Peter Cigleris. Two of these concerted works predate the Second World War and two post-date it. Only the Elizabeth Maconchy has appeared on record before.
The earliest composition is Susan Spain-Dunk’s single movement Cantilena (Poem) for clarinet and orchestra,
Op 51, completed in 1930. First heard in a reduced chamber version at Folkstone, it was taken up by John Barbirolli. For over 20 years it remained in the repertoire. Sadly, it has since lain hidden for 65 years.
At eleven minutes, it is too short! This listener just wants the voluptuous sound of the Cantilena to last for ever. It is in a Romantic rather than the then-prevalent Nationalistic style. The world of Delius is never far from here. It has become an instant favourite with me and is one of my discoveries of the year so far.
A little more detail about Susan Spain-Dunk’s life and achievement in the liner notes would have been helpful. For biographical details see Philip Scowcroft’s assessment here (towards the bottom of the page). Looking at her opus list on Wikipedia discloses some tantalising titles: Kentish Downs: Overture, Cinque Ports Suite, Stonehenge: symphonic poem and the Serenade de Capri.
Elizabeth Maconchy’s Concertino for clarinet and string orchestra was written in the immediate aftermath of the Second World War. It was dedicated to the great clarinettist, Frederick Thurston. After the London premiere in 1948, the work fell into desuetude until rediscovered by Dame Thea King in 1993. It was released on Hyperion CDA66634.
Despite her being a pupil of Ralph Vaughan Williams, Maconchy’s Concertino takes its influences from mainland Europe. I think that Paul Hindemith and Béla Bartók are the role models here. Maconchy has created a score that reflects “mild modernism, soundly expressive, well balanced music.” (Jurgen Balzer Tempo Summer 1947, p.26f). Where I disagree with the contemporary critic, is that I think that the “lack of excitement” is a plus. This is lugubrious music that deliberately keeps the listener in the gloom. Just occasionally, there are flashes of light and hints of optimism. Interestingly, the Concertino was one of the British entries to the 1947 ISCM Festival at Copenhagen; the other was Benjamin Frankel’s String Quartet No 2.
I guess that when I glanced at the track listing, I assumed that the Dolmetsch Concerto for clarinet, harp and orchestra (1939) was written by the early music enthusiast Arnold Dolmetsch. It turns out that it was by his eldest son, Rudolph, who was a keyboardist, gamba player and composer with an interesting catalogue of now neglected music. Sadly, he drowned on 7 December 1942, when his ship the SS Ceramic was sunk by a German torpedo near the Azores.
The present Concerto is neo-Baroque, in so far as the music presupposes the historic combination of concertante and ripieno. Rather than using sonata form, Dolmetsch has used ritornello for the first and third movements. This is more like a rondo, with a recurring passage played several times by the whole band but separated by episodes dominated by the soloist/s. The middle movement is a dreamy ostinato, which is novel in effect. There are gorgeous cadenzas in the middle of each movement for the soloists. The liner notes state that it “is the only [concerto] of its kind for this combination of instruments by an English composer.”
Peter Wishart is a little-known composer. As far as I can recall, this delightful Serenata Concertante for clarinet and small orchestra is the first significant piece I have heard. A few biographical details are included in the liner notes: Wishart was born in Crowborough, Sussex in 1921 (so this year is his centenary), studied music at Birmingham University, followed by some private lessons with Nadia Boulanger in Paris. His subsequent career included conducting, accompanying, composition and employment in academia. I have not seen a complete catalogue, but Wikipedia does list five operas and many songs. There was also a Symphony in E flat premiered on the BBC Third Programme on 16 November 1953.
The Concertante was composed in 1947 but does not appear to have been
performed. It was dedicated to BBC staff-man Anthony Lewis. The liner notes
suggest that Lewis may have encouraged Wishart to compose the work for inclusion in a broadcast concert, with Frederic Thurston as soloist. It was clearly set aside but was eventually unearthed in 1991. Some 27 years later it was premiered at the ICA ClarinetFest, Oostende, Belgium.
It is presented in six contrasting movements. The general style can be summed up as British Modernism, 1947 variety, with some more traditional moments, and even a nod to pastoralism and the Iberian Peninsula. It is not a serial work. Each movement is given a title: Prelude, March, Choral Prelude, Waltz, Habanera and Finale. I found these divisions to be somewhat arbitrary and can be ignored. That said, the progress of the piece is clearly episodic rather than developmental. There is drama in these pages as well as sultry moments (Habanera) and nods to Finzi, especially in the Choral. Other spikier influences must include Stravinsky, and a touch of Parisian humour. Despite these diverse styles, it is unified and structurally sound. It is a great concerto, by a largely unknown composer.
The performances of these four works for clarinet and orchestra are ideal. Clearly, the soloists Peter Cigleris and Deian Rowlands (Dolmetsch) have taken ownership of these concertos (notwithstanding Thea King’s 1992 disc) and the BBC National Orchestra of Wales under Ben Palmer have entered into the spirit of this music. The recording is great and the liner notes, presumably by Cigleris, are helpful; the CD cover design could have been a lot more appealing, though.
This is an excellent CD. How often do reviewers conclude by expressing the wish that the music were more widely known? I would extend that to include the achievements of all the composers represented here. Finally, I hope that clarinettist Peter Cigleris keeps up the good work and “rediscovers” many more forgotten scores.
John France
