Gordon JACOB (1895-1984)
Chamber Music with Recorder
Suite for recorder and string quartet [19:22]
Sonatina for treble recorder and harpsichord [9:38]
Sonata for recorder and piano [13:24]
A Consort of Recorders [10:15]
Variations for treble recorder and piano [12:55]
Trifles, for treble recorder, violin. cello and harpsichord [9:07]
Annabel Knight (recorder)
Robin Bigwood (harpsichord and piano)
Maggini Quartet
Fontanella
rec. Potton Hall, Westleton, Suffolk, UK 12, 25-26 January 2009. DDD.
NAXOS 8.572364 [74:41]
Following his father’s initiative in the revival of early music, Carl
Dolmetsch was a pioneer in the twentieth century, promoting interest in the
recorder as a “serious” musical instrument and gaining a reputation
as a virtuoso from the 1930s onward. Four of the six pieces here were written
and dedicated to Carl Dolmetsch. Later, the Danish player Michala Petri became
one of the best-known exponents, and many other excellent recorder players
have emerged as champions of the instrument.
Since the 1930s several composers have written works for the recorder and
a sizeable repertoire of modern music has been created. The instrument is
no longer confined to the music of earlier centuries, before it gave way to
the transverse flute.
English composers like Edmund Rubbra, Lennox Berkeley and Antony Hopkins were
amongst the first to provide attractive music for the recorder in the twentieth
century. But the greatest number of works is surely attributable to Gordon
Jacob, and it is his music alone that the English recorder player Annabel
Knight has chosen for this CD. Her reason, as she states in the booklet notes,
is to redress a balance, because proponents of the avant-garde recorder movement
in Germany and The Netherlands in the 1960s neglected the late twentieth century
English repertoire.
The six works by Jacob on this CD comprise almost his complete output of recorder
music. The exception is the miniature Duettino written as an encore for Michala
Petri. This requires the performer to play a tune while simultaneously singing
a counter-melody!
Probably the best known piece is the substantial 1957 Suite for Recorder and
Strings, here performed in its original form with string quartet. It is played
beautifully by the soloist accompanied by the excellent Maggini Quartet. This
seven movement work often appears in recitals with piano accompaniment (composer’s
arrangement), and there is an earlier recording by Michala Petri with string
orchestra. The piece works well in all arrangements, but the string quartet
version has, I think, a particular charm.
From the gently flowing Prelude to the English Dance, Lament, Burlesca alla
rumba, Pavane, Introduction and Cadenza and a final lively Tarantella, the
listener encounters a wide range of moods. This is attractive, tuneful music,
ideally suited to the instrument and played, as are all the works on this
CD, with assuredness, precision and sensitivity.
The Sonatina for treble recorder and harpsichord (originally written for Michala
Petri) is in similar vein with its four short movements of “easy on
the ear” melodies. It was written in 1983, though the CD states 1985,
the latter being the date of publication. The final movement, marked Allegro
vivace, is reminiscent of the Tarantella of the Suite. Both of these final
movements are usually played on the sopranino recorder (optional). Annabel
Knight does so in the Tarantella but chooses to stay with the treble recorder
in the last movement of the Sonatina.
There is perhaps a more serious tone overall in the longer Sonata for recorder
and piano (1967). The music still appeals to the ear but there are moments
when it has a certain edge, especially in the Scherzo with its percussive
discords on piano. The work as a whole demonstrates that the recorder, despite
its apparent gentility of tone, is quite capable of conveying strong emotions.
In this work and the Sonatina, the keyboards are played with great verve by
Robin Bigwood.
A Consort of Recorders (1972) is another piece composed for Carl Dolmetsch,
this time for recorder quartet. It is also known as “A Jacobean Suite”,
a punning title devised by Dolmetsch. It consists of six brief movements,
beginning with Fanfare and March followed by Nocturne, a felicitous Panpipes,
Bells (incorporating the Westminster chimes), a serene Chorale, and ending
with a very short “throwaway” Adieu. Gordon Jacob would probably
have described the piece as “unpretentious“, and it is exactly
that, but witty and quite charming. The ensemble Fontanella play this with
enthusiasm and capture the changing moods and moments of humour delightfully.
Jacob wrote a number of sets of variations, for strings, full orchestra, piano
(three hands), all of which are worth pursuing, and his Variations for treble
recorder and piano (1962) live up to his reputation of providing satisfying
music of worth. The ten variations on a folk-like theme, which has been described
elsewhere as having a Scottish flavour, are as varied as one could possibly
imagine. The work has been recorded previously by Ross Winters on a British
Music Society disc and in its booklet notes, Andrew Mayes (who provided the
main notes for this current CD) points out that in the fourth variation there
is an arpeggio accompaniment based upon the open-string intervals of the treble
viol, reminding the listener of the Dolmetsch family’s connection with
early music. The fifth variation is for piano alone, written for Carl Dolmetsch’s
associate Joseph Saxby who usually played the accompaniment of the whole work
on the harpsichord.
The final piece Trifles, for treble recorder, violin, cello and harpsichord
was written, according to my information in 1982 (the score is dated Jan 1st
1983) but the date given on the CD sleeve is 1971. The title is, one supposes,
an English interpretation of Bagatelles. With typical wit, Jacob has given
the four movements punning names: Le Buffet, La Trifle au vin de Jerez, La
Trifle à l’ananas, and La Trifle à l’anglaise. The
second movement surely has a whiff of Spain, the third is pineapple sweet,
while the final movement is based upon an English folksong, The Keys of Canterbury.
The slow movements have that wistfulness so characteristic of Jacob’s
music, while the allegros are invigorating and tend to get the feet tapping.
This CD is a fine tribute to the composer. His music has been interpreted
with first-class performances; one sometimes finds that Jacob’s slow
movements are not given enough weight, but here they are treated most sensitively.
And the livelier passages and movements receive the full treatment, resulting
in great bursts of energy - most exhilarating. Jacob’s music ideally
suits the instrument as one would expect, and it has great clarity of texture.
Annabel Knight, in her own comments in the CD booklet, refers to his musical
language as “often sparse, desolate and disturbed” and links this
to the personal tragedies in Jacob’s life, notably his experiences in
World War 1 in which he lost a favourite brother. Although there is much jollity
in the music on this CD, the serious and reflective side of his work is clearly
apparent. It is never over-stated; it is handled with restraint.
The recording quality is first-rate with an excellent balance between soloist
and accompaniment. The recorder is never swamped by the other instruments.
All credit must go to Robin Bigwood who was the recording engineer as well
as the keyboard player.
The Suite (in this version with string quartet), the Sonata and Trifles all
appear as world premiere recordings.
It is good to see yet another CD devoted entirely to Jacob’s music,
especially when the performances are so sparkling. It deserves to be successful.
Dr Geoff Ogram
A fine tribute to the composer. Sparkling performances.