RECORDING OF THE MONTH
York BOWEN (1884-1961)
Piano Works - Volume 4
Partita, Op. 156 (1960) [9:34]
Suite Mignonne, Op. 39 (1915) [8:36]
Third Suite, Op. 38 (1915) [16:30]
Three Sketches, Op. 43 (1916) [10:03]
Sonatina, Op. 144 (1954) [10:17]
Three Novelettes, Op. 124 (1949) [11:19]
Polonaise in F sharp major, Op. 26 No. 2 (1906/07) [10:03]
A Whim, Op. 19 No. 2 (c.1910) [2:27]
Joop Celis (piano)
rec. Willem Hijstek Zaal, Maastricht Conservatory, The Netherlands, 18-20
July 2009. DDD
CHANDOS CHAN10593 [79:35]
Review of an earlier volume in the series: Vol.
3.
When Chandos first began this series of York Bowen’s piano music back in 2005
I was both delighted and a little concerned. Until the last ten years there
has been scant interest shown in Bowen’s music. The reasons for this are many,
but probably devolve down to the critical anti-romantic mood of the nineteen
fifties and sixties. Coupled to this, is the perceived wisdom that Bowen’s
musical style did not develop - regarded as a fault - and that he was simply
an English pastiche Rachmaninov led to this once ubiquitous composer being
ignored. For many years he was recalled simply as a teacher and more pertinently
as a piano examiner with the Associated Board – who was believed to have composed
a few piano pieces.
The reality is far more complex. For one thing the catalogue of piano pieces
alone runs to many pages of text. In some ways it is probably too large, and
has led to a situation where no-one really knows the entire run of works.
Secondly although there is a definite strand of naked romanticism in Bowen’s
music, this is not the whole story – for example listen to the Partita
– a late work which nods to an earlier school of keyboard writing - on
this present disc.
But back to my concern. I was really worried that this series of piano works
by Bowen would become stalled – I guess that we all have seen examples of
where a cycle has been promised and where after a couple of issues it seems
to be abandoned. However, this is volume four of the present series and although
it has come out at roughly one CD a year, it has done so consistently. I know
that there is plenty more music by Bowen to ‘have a go at’ - I just hope that
this series continues, for I doubt that any other pianist or CD company would
attempt a rival ‘complete’ version!
This present disc divides conveniently into two parts – those early works
from the first three decades of the twentieth-century and those written after
the Second World War. They are not in chronologically sequence on this disc:
I imagine they are presented in the order given to make a satisfactory programme.
However, I would counsel against through-listening.
The best place to start is the delightful Suite Mignonne Op. 39. This
is usually regarded as the ‘fourth’ suite. It was written in 1915 and is really
a piece of ‘light’ music. The Suite opens with a ‘Prelude’ that is actually
very moving and beautiful. The middle movement ‘Valse’ is just about in the
gift of an amateur and nods fairly and squarely to the world of Haydn Wood
with its elegant and graceful mood. The final ‘Toccata’ is a miniature masterpiece
– it is a ‘moto perpetuo’ and as such barely pauses for breath. It would be
easy to scorn a work such as this for being superficial or light-weight, yet
what Bowen has created here is a suite that is listenable, well laid out for
the piano and quite simply gorgeous.
I would then suggest hearing the Three Sketches Op.43 which was composed
the year after the Suite Mignonne. These are not given poetic titles:
there is no obvious attempt to word-paint in music. Yet, as the liner-notes
point out, this is a set of three idyllic pieces that fully exploit the pastoral
mood that was popular at that time, although there is no use of folk-song.
Reflective in mood, they nod more to Fauré than to Rachmaninov, John Ireland
or Arnold Bax.
I have not heard A Whim before listening to this disk – although I
have perused the music: it is certainly way beyond my Grade 6½! This was the
second piece in Bowen’s Op.19 the other first being a ‘Nocturne’ and the last
a ‘Humoresque’. It is a light, will o’ the wisp piece that surely enchants
every listener who believes in fairies! It was composed in 1910.
The earliest piece on this CD is the long Polonaise which dates from about
1906, when the composer was about 22 years old. It is fairly safe to assume
that any piece that carries this title must be written with some sense of
debt to Chopin, or at least to the Polish nation. This is a concert Polonaise
and does not presume to use any traditional dance tunes. But as the liner-notes
point out, it is a fine achievement: a large piece derived from a single stylised
dance form. To be fair, there is little here that could not have written by
a dozen competent composers: there is nothing that says ‘English’ music. That
being said, it is an excellent piece – if it had been by Chopin it would have
been heard a dozen times a week on the radio and in recital rooms.
The last of the early pieces is the Third Suite Op.38 which was written about
1914 and was dedicated to Sir Frederick Corder. From the first few bars it
is clear that this is an important and striking piece. On a first hearing
the listener may wonder why this powerful work is called a ‘suite’ and not
a ‘sonata’. The distinction is made by Robert Matthew-Walker in the sleeve-notes,
and it is worth quoting. He writes that for Bowen ‘the difference was clearly
delineated. This is exemplified most in the emotional tenor of those works:
his sonatas (Bowen wrote six) are invariably more serious, at times overall
more fugacious, compositions, whereas his whimsical and natural lightness
of expression comes to the fore in his suites.’
Certainly in the present suite this thesis only seems to apply to a degree.
The opening movement, although I guess not in strict sonata form, is big,
gutsy and well structured. However the succeeding ‘Intermezzo’ and ‘Scherzo’
are certainly in a ‘lighter’ less profound mould. There are a fair number
of passages here that could be described as ‘cocktail bar’ music. And that
is certainly not meant as a criticism - it is a part of the delight of Bowen’s
music. This is even more apparent in the fourth movement, the ‘Valse-reverie’.
This is quite definitely music to fall in love with – in both senses. The
final ‘Toccata’ is a war-horse; not something for anything but nimble fingers.
It brings the Suite to an impressive conclusion.
The second tranche of pieces to explore belongs to the 15 years after the
Second World War. The Three Novelettes are a pleasure to listen to. They were
composed circa 1949 and dedicated to Marion Keyte-Perry who would appear to
have been a dog-breeder! A Novelette is technically a short story or piece
of fiction. Alas, there is no suggestion as to what the ‘literary’ text or
plot is behind these pieces. The first and third are largely reflective in
tone and explore a fundamentally romantic realm that is perhaps ‘retro’ for
the date composed. The liner-notes point out that the second piece is ‘the
sturdiest music here’. It is a ‘serious utterance’ - powerful and dramatic
- that seems to inhabit the northern world of Sibelius. It could be regarded
as being a little out of place with the two mood-pictures.
The Sonatina is another of those works that belie the title. Aspiring pianists
are brought up on the Sonatinas of Clementi, Kuhlau and Diabelli. However
this owes more to the more technically demanding examples of that title by
Maurice Ravel and John Ireland – without having their emotional depth or ‘profundity
of expression’. This work was written in 1954. Matthew-Walker has noted that
it requires a ‘finished and comprehensive technique’ to play. I love this
work: I think it is the untroubled out of doors mood of the entire piece that
appeals to me. It is not pastoral in any way, yet it surely suggests holidays
by the sea or walks in the countryside. The middle movement is a little more
reflective, but even here there is nothing to trouble the spirit. It is truly
lovely music. The last movement is exciting, difficult and thoroughly enjoyable.
It has a fine big tune that emerges from the predominant pianistic figurations
and makes a great finish to this ‘short sonata’.
The late Partita (1960) is possibly the most important work on this CD. The
title suggests experimentation with baroque forms and styles of keyboard figuration.
In fact nothing could be further from the truth. Although Bowen has used the
formal names typical of a ‘suite’ – prelude, gavotte, sarabande, minuet and
gigue transmuted into a late-romantic style – this is most certainly not pastiche
or retro. However there are occasional nods to the earlier age all done in
a subtle manner. A perfect balance is struck. I have written elsewhere that
from the first note to the last, this is a happy and fortuitous composition.
Since first hearing this work many years ago, I have always noted the suggestion
of the ‘salon’ about the ‘minuet’ and the ‘gigue’. Yet any suggestion that
this is simply ephemera is rejected by the sheer artistry of the music and
the competence required in playing it.
There is almost no need for me to write that this is a fantastic CD. I have
long been enthusiastic about virtually everything that I have heard from the
pen of York Bowen. This CD will be a must for all enthusiasts of British piano
music that has a late-romantic flavour to it. The playing by Joop Celis is,
as with the other three volumes in this series, superb. York Bowen and his
champion certainly deserve each other!
John France
The complete Bowen-Celis-Chandos series:-
York BOWEN (1884-1961)
Works for Piano, Volume 1
Piano Sonata No. 6 in B flat minor, Op. 160 [15:09] (premiere recording)
24 Preludes in all major and minor keys, Op. 102 [47:58] (1 Moderato appassionato
[1:05]; 2 Andante tranquillo [2:15]; 3 Andante grazioso [1:54]; 4 Allegro
con fuoco [1:16]; 5 Allegro risoluto [1:35]; 6 Andante con moto [2:55]; 7
Andante amabile [1:54]; 8 Poco lento, serioso [2:22]; 9 Allegro risoluto e
ritmico [1:44]; 10 Moderato, a capriccio [1:34]; 11 Andante con moto e grazioso
[2:42]; 12 Allegro con fuoco [1:41]; 13 Andante tranquillo [2:16]; 14 Allegretto
scherzando [1:21]; 15 Allegretto grazioso [1:44]; 16 Moderato semplice [2:16];
17 Andante molto espressivo [1:55]; 18 Allegro con fuoco [2:11]; 19 Andantino
con moto [1:58]; 20 Allegro con fuoco [1:23]; 21 Andante piacevole [2:34];
22 Allegro molto e con fuoco [1:22]; 23 Andante con moto [1:47]; 24 Moderato
serioso e tragico [4:10])
Rêverie in B major, Op. 86 [5:15]
Joop Celis (piano)
rec. Willem Hijstek Zaal, Maastricht Conservatory, The Netherlands, 19-21
April 2003
CHANDOS CHAN 10277 [68:49]
York BOWEN (1884-1961)
Works for Piano, Volume 2
Piano Sonata No. 5 in F minor, Op. 78 [22:18]
Nocturne in A flat major, Op. 78 [5:04]
premiere recording
Ripples (A Short Sketch) in F major, Op. 100 No. 1 [2:26]
premiere recording
Two Preludes 7:27 (I Andante sostenuto in G minor [3:48]; II Op. 100 No. 2
'Shadows' in D major [3:36]
premiere recording
Fantasia in G minor, Op. 132 [10:43]
premiere recording
Two Intermezzi, Op. 141 3:47 (I Andantino tranquillo in B minor [2:38]; II
Allegro con fuoco in G minor [1:05])
premiere recording
Siciliano and Toccatina, Op. 128 [5:14]
premiere recording
Four Bagatelles, Op. 147 [7:23] (I Andante con moto in A minor [1:30]; II
Moderato sostenuto in B minor [2:19]; III Allegretto grazioso in F major [1:34];
IV Andantino grazioso in E major [1:51])
premiere recording
Evening Calm in B flat major [8:18]
Joop Celis (piano)
rec.Willem Hijstek Zaal, Maastricht Conservatory, The Netherlands, 14-16 July
2006
CHANDOS CHAN 10410 [73:43]
York BOWEN (1884-1961)
Works for Piano, Volume 3
Ballade No. 2 op. 87 [10:16]
Three Songs Without Words op. 94 [11:13]
From Three Preludes Op. 81 [5:47]
Short Sonata Op 35 no. 1 [14:19]
Three Miniatures op 44 [6:55]
Three Serious Dances op. 51 [7:23]
Toccata op 155 [4:22]
Three Pieces op 20 [18:13]
Joop Celis (piano)
rec.Willem Hijstek Zaal, Maastricht Conservatory, The Netherlands, 21-24 March
2008
CHANDOS CHAN 10506 [79:20]
York BOWEN (1884-1961)
Works for Piano, Volume 4
Partita op. 156 [9:34]
Suite Mignonne op. 39 [8:36]
Third Suite op. 38 [16:30]
Three Sketches op. 43 [10:03]
Sonatina op. 144 [10:17]
Three Novelettes op. 124 [11:19]
Polonaise op. 26 No. 2 [10:03]
A Whim op. 19 No. 2 [2:27]
Joop Celis (piano)
rec.Willem Hijstek Zaal, Maastricht Conservatory, The Netherlands, 18-20 July
2009
CHANDOS CHAN 10506 [79:35]