Alan RAWSTHORNE (1905-1971)
Piano Concerto No. 2 in C minor (1951) [28:07]
Edmund RUBBRA (1901-1986)
Piano Concerto in G major, Op. 85 (1956) [27:18]
Denis Matthews (piano)
BBC Symphony Orchestra/Sir Malcolm Sargent
rec. 1958
FORGOTTEN RECORDS FR403 [55:27]
Alan Rawsthorne’s Second Piano Concerto was written in answer to a commission
from the Arts Council of Great Britain, and premiered in 1951 at the Festival
of Britain. The first of its four movements begins with a flute melody which
seems typical of English music of the period. It wanders rather, not really
getting anywhere; it’s not quite a melody at all, actually, but it haunts
the mind all the same. The piano assumes an accompanying role here, and indeed
challenging though the solo part must be, this is not a heroic piano concerto
in the romantic sense. The second movement is in contrast to the rather amiable
first, a rapid scherzo with darker undertones, though the atmosphere falls
far short of the malice in the corresponding movement of, say, Walton’s First
Symphony. The concerto has been recorded by Peter Donohoe on Naxos, and
the notes accompanying that issue contain some interesting commentary by the
composer, dated 1958 and therefore perhaps written for the LP issue of the
present performance. The slow movement, he writes, “… has about it that nostalgic
character so much disliked by the immobile intelligentsia of today, who confuse
this quality with the emotional mess of the last century.” Quite. The main
theme of the finale has taken some stick over the years. It is described in
one of the Penguin Guides, for example, as “cheap”, though in a later edition
the word “catchy” is applied to it. The composer himself seems to have been
dubious: “This tune, saved, one hopes, from complete banality by its metrical
construction …”. I don’t know about “cheap”, but “catchy” it certainly is,
and the composer uses it to considerable effect to bring about an entertaining
close to a most satisfying work.
Rawsthorne’s concerto has been recorded a number of times in the years following
the appearance of this performance, but the only other I have heard is that
by Donohoe referred to above. There, the soloist’s contribution is very fine
indeed, and the performance as a whole is very satisfying. But the present
performance is also very fine, totally committed and convincing, with a particularly
authoritative contribution from Sargent and the BBC Symphony Orchestra. Where
the later performance scores, of course, is in the quality of the recorded
sound, and since the dryness of some of the musical ideas makes for a work
which only gives up its secrets slowly, even reluctantly, there is no doubt
that for a newcomer to the work, and perhaps to the composer, the later performance
will be an easier entry point. For Rawsthorne enthusiasts who have not heard
the Matthews performance, however, I urge you to give it a listen right away.
The Rubbra Concerto was new to me. Like the Rawsthorne it is not a heroic
concerto in the Rachmaninov or Tchaikovsky vein. The piano part is big and
wide ranging, but the instrument is more the equal of the orchestra than its
competitor. The first movement opens in sombre mood, and in the minor key,
despite the work’s major key designation. The music gradually opens out –
in line with its botanical title: “Corymbus” – to imposing effect, and rising
to a remarkably passionate climax. The second movement is entitled “Dialogue”,
but it is not at all an intense affair along the lines of the slow movement
of Beethoven’s Fourth, but calm and very beautiful. I have not had
access to a score, but I think this movement probably begins nearly a minute
later than the tracking cue would have us believe. The finale opens with a
dancing figure, and its rondo structure is easily discerned even on a first
hearing. There are references to earlier themes, in particular to the opening
of the concerto, before the brief flourish that ends the work. There is a
certain ebullience here that may surprise those who know the composer only
from his symphonies and choral works. Once again, it is a most enjoyable and
satisfying piece and comes here in an outstandingly fine performance.
As is to be expected from this source, there is no presentation to speak of.
The CD cover is a simple inlay card with no accompanying text at all. The
back of the box carries a number of internet links, including one to some
useful pages on this very site. This is not really a “forgotten record”, though,
as the Rubbra performance has already been available in EMI’s British Composers
series. I haven’t heard that transfer, but this one, apparently direct from
the original HMV LP of 1958, seems to have been expertly managed.
William Hedley
Edmund Rubbra discography
& review index
Two fascinating English piano concertos from the 1950s in highly accomplished performances and more than acceptable sound for the period