Don Banks (1923-1980)
Trio for Horn, Violin and Piano (1962)
Five North Country Folk Songs (1953)
Prologue, Night Piece and Blues for Two for clarinet and piano (1968)
Three Studies for cello and piano (1954)
Sonatina in C sharp minor for piano (1948)
Sonata for violin and piano (1953)
Tirade for mezzo-soprano and chamber ensemble (1968)
Robert Johnson (horn), Ole Bøhn (violin), Jenny Duck-Chong (mezzo-soprano), Francesco Celata (clarinet), Geoffrey Gartner (cello), Rowan Phemister (harp), David Kim-Boyle (siren), Alison Pratt, Daryl Pratt & Joshua Hill (percussion), Daniel Herscovitch (piano)
rec. 2020, Recital Hall West, Sydney Conservatorium of Music, Australia
TOCCATA CLASSICS TOCC0591 [82]
First, a few pointers to the life and achievement
of the composer: Don Banks was born in South Melbourne, Australia on
25 October 1923. His early career concentrated on jazz piano and arranging.
In 1950, he came to London as secretary to Edward Clark, then head of
music at the BBC. Later, he studied with Mátyás Seiber in
the Capital and with Luigi Dallapiccola in Florence. His catalogue is
varied: a wealth of chamber music, two effective concertos (one for
horn and one for violin) and several Third Stream/Crossover works. He
was successful in the Hammer film studios with many scores to his credit,
especially for horror movies. Finally, Banks was never averse to writing
light music. His technical vocabulary extended from his preferred serialism
to electronics as well as jazz. Stylistically, his music- at least,
the few pieces I have heard- are infused with drama and display wit
with a lack of pedantry. Everything is well-crafted, and ideally suited
to the chosen instrumentation. In 1972, he returned to Australia,
where he held the post of Chair of Composition at Canberra School of
Music and latterly at the Sydney Conservatorium of Music. He died on
5 September 1980, aged only 56.
An effortless way to begin exploring this CD is with the Five North Country Folk Songs. Dating from 1953, this work was written for the Swiss soprano, Sophie Weiss, who was living in London at the time. Listeners who know Seiber’s Three Hungarian Folk Songs will spot the influence of teacher on pupil immediately - and Benjamin Britten’s folk song settings may have functioned as a spur as well. As the liner notes explain, Banks “spices up these traditional melodies with piquant harmonies and unexpected rhythmic twists.” There is a well-wrought piano accompaniment which adds to the songs’ success. The tunes set are Buy Broom Buzzems, My Bonny Lad, King Arthur’s Servants, Bonny at Morn and O the Bonny Fisher Lad.
Banks’s Trio for horn, violin and piano was composed in 1962 and dedicated to the Australian instrumentalist Barry Tuckwell. The liner notes do not mention that it was first performed at that year’s Edinburgh Festival, played by the dedicatee and Brenton Langbein (violin) and Maureen Jones (piano). The work is not “officially” serial, although it often sounds as if it might be. It has been described as atonal but making considerable use of the dodecaphonic composer’s tricks of the trade, such as canon, retrograde and inversion and close thematic relationships. That does not matter really, except to the musicologist. Banks has created a rewarding score that explores several moods and styles. Antony Payne (Tempo, Winter 1966-67) has well described it as “[embodying] a warm and romantic atonalism.” To this could be added several nods to jazz, especially in the highly syncopated finale. The first movement opens with a dramatic introduction and is immediately followed by lyrical music. The central Adagio espressivo is elegiac in mood, with a “long arching melody” for the horn, later balanced by “a grazioso episode for violin and piano only.” (liner notes). Overall, there is a touch of humour in this Trio that enlivens this “robust and uncluttered music.”
Despite its title, the Prologue, Night Piece and Blues for Two for clarinet and piano (1968) is not a crossover work. To be sure there are several nods to jazz, but the general mood is strictly classical and probably serial. The Prologue is forceful and acerbic, whilst the Night Piece is gently and dreamy. There is a touch of “swing” in the opening section of the Blues; however, this soon gives way to a cadenza and a dramatic close.
Serialism plays a significant role in the Three Studies for violoncello and piano. The liner notes explain that this work, dating from 1954, reflects the profound influence of his teacher Luigi Dallapiccola. Despite the use of all the twelve-tone paraphernalia of “canon, retrograde and inversion,” these Studies present deeply thought out melodic and formal structures. The opening study is dramatic, while the second presents an involved recitative for solo cello, with several gnomic interruptions from the pianist before a “violent outburst from both players.” (liner notes). This movement ends calmly. The finale is a robust scherzo.
Like many examples labelled as Sonatinas, Banks’s example for piano is no cinch. It was written in Melbourne in 1948, before he left for London. This is no serial composition but pushes the concept of C sharp minor to the limits. It is a highly chromatic piece that the booklet suggest might have been inspired by the “daringly free chromaticism of Margaret Sutherland, who at that time was one of Melbourne’s leading composers…” The opening Andante – Moderato is conceived in sonata form with an animated main subject, contrasting with an expressive second theme. There is little time for development; however, several derived sections add interest to the proceedings before the formal recapitulation. The second movement, Lento espressivo, opens with a fugato section, building to a climax and followed by a chorale-like tune. The Sonatina closes with an interesting rondo, using a big, gutsy refrain, and highlighting several contrasting and sometimes wayward episodes. This is altogether an enjoyable work, which deserves to be better known by pianists.
Banks regarded his sonata for violin and piano (1953) as his “Op. 1.” The booklet explains that it “by no means follows classical sonata form.” What Banks has done is to create a mosaic of highly contrasting sections which are patched together to make a convincing whole. Some of these are developed as the music progresses. The sonata ends on a hugely optimistic note. The listener will be struck by the constant evolution of thematic material, over which the composer has complete control: there is no padding. Every bar of this 15-minute Sonata is essential to its overall impact. It was dedicated to Mátyás Seiber.
The most challenging work on this CD is Tirade for mezzo-soprano and chamber ensemble, finished in 1968. It is a setting of a poem by Australian-born, but London-based, poet, Peter Porter. I confess that many of the text’s allusions are a little beyond my grasp. There are several references to antipodean events and culture. I guess that the overall plot of this ironic poem is a tilt at the then current “alleged philistinism of [the arts] of Australia.” (liner notes). It requires a massive battery of tuned and untuned percussion instruments including a siren, harp and piano. The marvel of this piece is the diversity of the vocal line as it explores this pop-poem. Jenny Duck-Chong presents the listener with spoken words, Sprechstimme, shouting, a scream, jazz scat and “normal” vocalisation. It is always supported by a perfectly contrived accompaniment. This latter often sounds improvised, but I understand that it is all notated exactly.
Many years ago, Peter J Pirie summed up Tirade in the Musical Times (December 1969) as representing the “middle avant-garde” which seemed at the time to have a penchant for vocal solo with instrumental (largely percussive) accompaniment. Pirie considered that it “was one of the more successful specimens.” Truly, adjectives stack up: explosive, manic, impressionistic, improvisatory, energetic. It is one of the most approachable works of its kind from the 1960s. It deserves a revival in the concert hall.
The performance of all this material is excellent and clearly sympathetic; it is complemented by a clear and vibrant recording. The helpful booklet notes were written by the present pianist Daniel Herscovitch. I am grateful to them in preparing this review. They include detailed comments on all the music, the texts of the songs and brief biographies of the performers.
Next year (2023) sees the centenary of the birth of Don Banks. I wonder how extensively it will be celebrated in the concert hall and the recording studio? One thing is for sure, the present CD gives the composer an enjoyable and satisfying early birthday present.
John France
