The English Oboe: Rediscovered
Edmund RUBBRA (1901-1986)
Oboe Sonata in C, Op. 100 (1958) [13:34]
Edward LONGSTAFF (b. 1965)
Aegeus (1996) [8:21]
Thomas Attwood WALMISLEY (1814-1856)
Sonatina No. 1 (1847) [8:49]
John CASKEN (b. 1949)
Amethyst Deceiver for Solo Oboe (2009) [7:16]
Gustav HOLST (1874-1934)
Terzetto for Flute, Oboe and Viola (1925) [11:35]
Michael BERKELEY (b. 1948)
Three Moods for Unaccompanied Oboe (1978) [10:10]
Ralph VAUGHAN WILLIAMS (1872-1958)
Six Studies in English Folksong for Cor Anglais and Piano (1926) [8:39]
James Turnbull (oboe/cor anglais), Libby Burgess (piano), Matthew Featherstone
(flute), Dan Shilladay (viola)
rec. 26-29 March 2012, Music Room, Champs Hill, West Sussex. DDD
CHAMPS HILL RECORDS CHRCD051 [68:34]
I wish that more record companies would dare to mix the familiar with the
not so familiar, as we find on this superb new disc. The programme here is
unusually stimulating, with its juxtaposition of old and new. Furthermore,
this CD is framed by arguably the finest ever recorded versions of Rubbra’s
magnificent Sonata and Vaughan Williams’ Six Studies in English Folksong.
The Rubbra Oboe Sonata is unquestionably one of his finest chamber works and
is worthy to rank alongside his Second Violin Sonata. This is quite an elusive
work and can be difficult to pull off in performance. Melinda Maxwell rather
misses the mark in her rival Dutton version (Dutton CDLX 7106) and the result
is disappointingly bland and uninvolving. Compare, for example, the opening
minute of her performance with the haunting, dream-like interpretation of
James Turnbull and it is a little like turning from a monochrome sketch to
viewing a fully finished watercolour. The ebb and flow of the first movement
is absolutely right in this new version and the slow movement has tremendous
nobility. The quixotic finale is also beautifully handled by both players,
with Libby Burgess doing full justice to the taxing piano writing. I have
little doubt that this new performance will become the benchmark recording.
Edward Longstaff’s Aegeus has great strength of purpose and a
compelling sense of atmosphere. This is powerful music which avoids the temptation
to indulge in extended playing techniques and achieves a feeling of timelessness
as a result. This seems eminently appropriate considering the classical inspiration
of the piece. It was named after the father of the Greek hero Theseus. I would
like to encounter more of this intriguing composer’s music.
The music of Thomas Attwood Walmisley was previously unknown to me. His Sonatina
No. 1 is attractive and is given a gorgeous performance here. The piece is
most charming and occasionally sounds like Mendelssohn and Schumann. The first
movement is beautifully phrased by James Turnbull and the following Allegro
is nicely handled. It might have been better if the two movements had been
given different track numbers, but this is a minor quibble.
An air of mischief hangs over John Casken’s Amethyst Deceiver
for solo oboe. The title refers to a species of mushroom, which has a particularly
intense flavour. Although safe to eat, it has a strong resemblance to another
type of mushroom which is poisonous, hence the name “deceiver”.
Casken has already shown himself to be a master at writing for oboe in his
bewitching Masque for Oboe, Two Horns and Strings (1982), which is,
sadly, still unrecorded. This new piece is equally well written and is a splendid
example of a contemporary showpiece employing new techniques but in ways that
are always musical. There is nothing here that would frighten away the more
traditional listener and much that would inspire them. Perhaps this exciting
new work will prompt a recording of the above-mentioned Masque, which
is one of Casken’s most individual and affecting scores.
Holst’s Terzetto for Flute, Oboe and Viola is certainly not immediately
accessible but repeated hearings reveal a work with a distinctively subtle
atmosphere. Some listeners may wonder if the composer’s decision to
maintain three different keys simultaneously throughout becomes a touch wearisome
at times - a bit like too much blue on a painter’s canvas - but it is
an intriguingly strange work all the same. The performance is very well judged.
Michael Berkeley’s Three Moods for Unaccompanied Oboe are attractive
and involving miniatures. These are relatively early pieces and are fresh
in inspiration. The performance here is beyond criticism.
Finally, we are offered the Vaughan Williams Six Studies in a truly
exemplary performance. Although the piece was originally conceived for cello
and piano, it now exists in a number of different versions. The choice of
cor anglais here is ideal. The work sounds better on this instrument than
on the clarinet. Emma Johnson recorded it on ASV in a sensitive rendition,
but this newcomer surpasses that fine account. The Lento (Track 15)
is particularly affecting and shows Vaughan Williams’ ability to express
a great deal in the shortest of time periods. This new account of the Six
Studies is unlikely to be beaten.
The recorded sound is excellent throughout, offering both clarity and warmth.
The booklet notes by Malcolm MacDonald are extremely interesting and informative.
This is a splendid release.
David Jennings
www.davidjenningscomposer.co.uk
This is a splendid release.
Vaughan Williams review index
Rubbra discography & review
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