Undertones of War: British Organ and Vocal Music after 1918
Robert James Stove (organ)
Elizabeth Barrow (soprano), Brigette De Poi (mezzo-soprano), Emily Tam (mezzo-soprano), Leighton H. G. Triplow (tenor), James Emerson (bass)
rec. 2022, Our Lady of Victories Basilica, Camberwell, Australia
ARS ORGANI RECORDINGS AOR004 [38]
This is a veritable potpourri of fascinating pieces from the years after the end of the First World War. To be sure, there is nothing particularly challenging here. The ethos of this disc is to explore music that followed the cataclysmic war events, but strangely none of it is violent or anarchic. Nearly all pieces are introspective, and they present a general feeling of sadness rather than resentment.
The Diapason Movement by Basil Harwood is a gently evocative “sursum corda” that looks back towards the Victorian era, with its unfolding chromaticism in the development section. Reger or Franck may be the models here. The liner notes explain that Harwood took the three-note opening theme – with the surprising melodic interval of a falling major seventh – from William Walond’s Voluntary in G, written nearly two centuries earlier.
Most organ enthusiasts will have come across Walter Galpin Alcock’s powerful Introduction and Passacaglia. The present Voluntary I from a set of twelve is gentler in mood, once again echoing Franck. It would make an ideal introit for Evensong.
Richard Runciman Terry’s beautiful hymn tune Highwood, sung by a vocal quartet, was included in the important Roman Catholic Westminster Hymnal published in 1912. This was later associated with the Advent hymn Hark, What a sound to words by F. W. H. Myers.
At Eventide is the third number from Book 2 of Charles Villiers Stanford’s Six Occasional Preludes Op 182, published posthumously around 1930. They were everyday miniatures devised for the “practical organist”. This attractive miniature serves its purpose at Evening Prayer, but may outstay its welcome. The present performance is played from the OUP edition issued in 2021, which corrected “the original edition’s chordal misprints”.
John Ireland’s The Holy Boy is well known in its original piano version, No 3 of Preludes written between 1913 and 1915. In 1940, he also arranged it for string orchestra or string quartet. Other arrangements were made by various hands for several instrumental combinations. The present incarnation sets words by Ireland’s solicitor, Herbert S. Brown: “Lowly, laid in a manger / With oxen brooding nigh / The Heav'nly Babe is lying / His Maiden Mother by”. It is tenderly sung here by the soprano Elizabeth Barrow.
I was underwhelmed by York-born composer Alan Gray’s Andante grazioso, a pleasant little barcarolle with no pretensions. Only in the final bars is there a touch of angst, which the liner notes suggest reflects the fact that Gray lost his two sons during the war.
Leighton Triplow then gives a sympathetic account of Peter Warlock’s lugubrious Adam lay ybounden.
One of my discoveries on this disc are the Three Chiddingfold Pieces by Thomas F. Dunhill, originally conceived for string orchestra and first heard in Bournemouth on 7 December 1922. The first movement, Canticum Fidei, has definite nods to plainchant. It is a little bit of a dirge. The Warrior’s Daughter follows on with an Allegro sollene, alla marcia which seems just a little tame for the associated programme. It is all to do with Brunna, a British chieftain’s daughter who discovers a field full of treasure. The music celebrates her “carried aloft in triumph upon the shield of her warrior father”. The final movement, The Vision of Richard Peyto, is equally not up to the story. Peyto was a stained-glass artist forbidden to use the furnaces which were required for his craft. The music purportedly presents a dream granted to the dying Peyto of “Visionary Presences glowing with hues of stained glass…” and the final completion of his masterwork by the Angels.
I would have preferred the Three Chiddingfold Pieces played consecutively, rather than in-between two carols from the Cambridge Hymnal of 1967. In Elizabeth Poston’s setting of Andrew John Young’s Christmas Day, bass James Emerson gives a sensitive account of these wistful words. This little carol deserves to be better known. London-born composer Norman Fulton’s Released by Love is sung by Brigette De Poi and Emily Tap. This brief 51-second setting of a poem by W. H. Auden gets a near-perfect musical treatment. Why do the liner notes suggest that Fulton was Scottish? Perhaps I am missing something – but he did write a Scottish Suite.
The Call, the fourth number from Ralph Vaughan Williams’s Five Mystical Songs, was first heard in its orchestral version in 1911 at the Gloucester Three Choirs Festival. The present arrangement for organ and mezzo-soprano, sung by Emily Tam, is moving in its effect. The liner notes correctly say that the parallel harmonies used here are effective on the organ.
The idea behind Alec Rowley’s Three Quiet Preludes for organ was to “purely present” the sounds of Modal, Chromatic and Diatonic harmonies and melodies. I agree with the suggestion in the liner notes that these Preludes are “calmly regretful all through”.
Charles Villiers Stanford’s pupil Geoffrey Turton Shaw’s setting of Milton’s words Ring out, ye crystal spheres brings this recital to a dramatic close. It is a big, powerful anthem, full of optimism that in 1932 may well have been misplaced. It is sung and played by all the performers.
The oustanding recording compliments the organ and the talents of the soloists. All works get decent, expressive performances.
The organist Robert James Stove’s liner notes give a helpful overview of each work and their composers, preceded by a well-considered introduction to the period. All texts of the vocal pieces are included. There are the specification of the three manual and pedals Magahy Organ in the Our Lady of Victories Basilica, Camberwell, Victoria. Very brief notes are given about each of the performers.
This is a short but very sweet presentation of usually rare, and largely reflective, vocal and organ works. It is always interesting, never demanding, and quite simply enjoyable. One hopes for plenty more from where this came from.
John France
Contents
Basil Harwood (1859-1949)
Diapason Movement (1935)
Walter Galpin Alcock (1861-1947)
Voluntary I from set of twelve (1925)
Richard Runciman Terry (1864-1938)
Highwood (Hark, What a Sound) (1912)
Charles Villiers Stanford (1852-1924)
At Eventide, from Six Occasional Preludes (1921)
John Ireland (1879-1962)
The Holy Boy (1913)
Alan Gray (1855-1935)
Andante grazioso for organ (1922)
Peter Warlock/Philip Hesletine (1894-1930)
Adam lay ybounden (1923)
Thomas F. Dunhill (1877-1946)
Canticum Fidei, from Three Chiddingfold Pieces, Op 60a No 1 (1922)
Elizabeth Poston (1905-1987)
Christmas Day (1967)
Thomas F. Dunhill
The Warrior’s Daughter, from Three Rheingold Pieces, Op 60a
No 2 (1922)
Norman Fulton (1909-1980)
Released by Love (1967)
Thomas F. Dunhill
The Vision of Richard Peyto, from Three chiding Pieces, Op 60a
No 3 (1922)
Ralph Vaughan Williams (1872-1958)
The Call, from Five Mystical Songs (1906)
Alec Rowley (1892-1958)
Three Quiet Preludes for organ: Modal Prelude, Chromatic Prelude, Diatonic Prelude (1937)
Geoffrey Turton Shaw (1879-1943)
Ring out, ye crystal spheres (1932)
