On Record: Richard Deering – William Wordsworth: Piano Music; Wilson & McGuire (Heritage)

Wordsworth
Piano Sonata in D minor Op.13 (1939)
Cheesecombe Suite Op.27 (1945)
Ballade Op.41 (1949)
Valediction Op.82 (1967)
Wilson
Incanabula (1983)
McGuire
Prelude 7 (1983)
Six Small Pieces in C (1971)

Richard Deering (piano)

Heritage HTGCD142 [77’42’’]
Producer/Engineer Paul Arden-Taylor (Piano Sonata), Robert Matthew-Walker
Recorded 1985 at University of Wales, Cardiff, 2023 at Wyastone Concert Hall, Wyastone Leys, Monmouth

written by Richard Whitehouse

What’s the story?

Heritage here continues its extensive coverage of British music with a release of piano music primarily by William Wordsworth, complemented with short pieces by Thomas Wilson and Edward McGuire, all of them heard in idiomatic and insightful readings by Richard Deering.

What’s the music like?

Although his music is now relatively well covered in terms of recording (thanks to Lyrita and, more recently, Toccata Classics), Wordsworth remains a difficult composer to pin down – not least because this understated and often taciturn idiom does not lend itself to casual listening.

Piano music features prominently in his earlier output, notably a Piano Sonata that can rank with the finest such works from the inter-war period. Its initial movement is introduced by a Maestoso whose baleful tone informs the impetuous and expressively volatile Allegro that follows. The central Largamente probes more equivocal and ambivalent emotions before it leads directly into a final Allegro whose declamatory and often martial character is briefly offset by an aching recall of previous material, prior to a conclusion of inexorable power.

His status as conscientious objector saw Wordsworth engaged in farm-work during wartime, the experiences and friendships of this time being commemorated in the Cheesecombe Suite whose lilting Prelude and lively Fughetta frame a quizzical Scherzo then a Nocturne of affecting pathos. Written for Clifford Curzon, Ballade is a methodical study in contrasts that makes for an ideal encore; as, too, might Valediction, but here emotions run deeper and more elusively as befits this memorial to a lifelong friend written later in the composer’s maturity.

As with Wordsworth, Thomas Wilson was an incomer to Scotland (albeit from the United States rather than England), and Incanabula typifies the searching though accessible quality of his later music – the six sections unfolding as if variants on each other before concluding in a mood whose calmness does not preclude a degree of restiveness. Scottish by birth and among the most wide-ranging composers of his generation (not least through a half-century association with traditional group The Whistlebinkies), Edward McGuire has written widely for piano – notably a series of Preludes, of which the seventh integrates minimalist and folk elements into its fluid and cumulative overall design. Simpler as to form and expression, Six Small Pieces in C Major evoke Satie and Cage in their lucid textures and disarming naivete.

Does it all work?

It does, and not least when Deering is so evidently attuned to this music – having premiered the Wilson piece and MacGuire Prelude. Margaret Kitchin recorded those three earlier pieces by Wordsworth in the 1960s (Lyrita), and Christopher Guild recently set down all four items with various miniatures in his complete survey (Toccata), but those wanting the major works cannot go wrong with this anthology. Other than McGuire, booklet notes are by John Dodd – a tireless advocate of British music with whom this reviewer was fortunate to be acquainted.

Is it recommended?

Indeed. The sound has a clarity and focus such as belies the almost four decades between the two sessions, and this makes a worthwhile follow-up to Deering’s recent collection of piano music by Parry [HTGCD140-141]. Hopefully there will be further releases from this source.

Listen & Buy

You can explore purchase options at the Heritage Records website, and find out more about Richard Deering here. Meanwhile for more on the composers, click on the names William Wordsworth, Thomas Wilson and Edward McGuire.

Published post no.1,983 – Thursday 19 October 2023

Christmas recommendation – Bugge Wesseltoft: It’s Snowing On My Piano

by Ben Hogwood

If you’re after something a little bit different music-wise over Christmas, let me point you in the direction of Bugge Wesseltoft, and the keyboard wizard’s exquisite 1997 album It’s Snowing On My Piano. It is an absolute treat, and includes this particularly beautiful rendition of the famous carol In Dulce Jubilo. Sometimes less is most definitely more!

You can purchase Bugge’s album from his Bandcamp site below:

On Record: Nathan Williamson – Malcolm Lipkin: Piano Music (Lyrita)

Malcolm Lipkin
Nocturne no.1 (1987, rev. 2000)
Nocturne no.2 (1995)
Nocturne no.3 (1999)
Sonata no.5 (1986)
Nocturne no. 4 ‘…heard in the stillness…’ (2000)
Nocturne no.5 ‘…interrupted melody…’ (2001)
Sonata no.6 ‘Fantasy Sonata’ (2002)
Nocturne no.6 ‘…glint and shadow…’ (2002)
Nocturne no.7 ‘…dancing figures…’ (2004)
Nocturne no. 8 ‘…recollections…’ (2006)

Nathan Williamson (piano)

Lyrita SRCD.414 [68’55’’]
Producer/Engineer Adrian Farmer
Recorded 13-15 October 2021 at Wyastone Concert Hall, Wyastone Leys, Monmouth

written by Richard Whitehouse

What’s the story?

Following on from his three symphonies (SRCD.349), Lyrita here continues its coverage of Malcolm Lipkin (1932-2017) with this release featuring piano music from his later years – a cohesive body of work such as benefits from the insightful playing of Nathan Williamson.

What’s the music like?

While not lacking performances from the early 1950s onward, Lipkin remained a peripheral figure on the UK music scene until the premiere of his 1977 chamber work Clifford’s Tower (Divine Art DDA25202) – its powerfully humanist response to racial atrocity typifying the music from his maturity. The pieces on this new release appear dissimilar given their overt abstraction, but even a cursory hearing reveals many subtleties of expression arising directly out of the musical content which come increasingly into focus with each successive listen.

It was with his Third Sonata that Lipkin first came to attention, but there was a 32-year gap between its successor and the Fifth Sonata. Its two movements contrast with each other in every respect: the first, marked ‘Extremely slow’, starts then ends with a rapt inwardness that makes its ferocious central eruption more unnerving; the second, marked ‘Quite fast’, emerges as a toccata whose jazzy syncopation and technical virtuosity are carried forward to a decisive close. If the ‘Fantasy’ of the Sixth Sonata seems anti-climactic by comparison, its integrating of the nominal four movements (the ‘scherzo’ placed third) as a continuous discourse is brought off with absolute assurance. There is also a growing sense the outcome of its intriguing 15 minutes is unlikely to be that anticipated, which indeed proves the case.

It was none the less with his series of Nocturnes, composed over virtually two decades, that Lipkin made his defining contribution to piano literature. These take their cue from Chopin and Fauré, while adding a vein of ambiguity which is unique to this composer. Not least the First Nocturne with its distanced opening, hazy yet lucid evolution and ethereal close. The Second and Third pieces are respectively wistful and elegiac, then the remaining five each has a descriptive subtitle. Hence the Fourth Nocturne in its juxtaposing of the otherworldly and ominous, the Fifth with its winsome elegance, and the Sixth in its intuitive interplay of expressive types. The Seventh Nocturne has a more capricious demeanour, then the Eighth ends the series with its veiled allusiveness: ‘recollections’ in the fullest yet obliquest sense.

Does it all work?

Absolutely. Right from his first acknowledged pieces, Lipkin evinced craftsmanship of the highest order but it took time and experience to channel this into a wholly personal idiom. Such is everywhere evident in the piano music heard here, which also calls on pianism of the highest order. This it receives from Nathan Williamson (himself a composer of note), who has clearly devoted much time to evolving an all-round interpretive stance. With the Nocturnes in particular, it would hard to imagine more authoritative or sensitive readings.

Is it recommended?

Indeed. The spacious though focussed sound is up to Wyastone studio’s customary standard, and there are typically comprehensive annotations from Paul Conway. It is to be hoped that Lyrita will continue its Lipkin exploration with more of the chamber and orchestral output.

Listen

Buy

You can explore purchase options for this album at the Wyastone website. For more information, click on the links for performer Nathan Williamson and composer Malcolm Lipkin

Published post no.1,983 – Thursday 19 October 2023

On Record: Richard Deering – Parry: Piano Music (Heritage Records)

Parry
Piano Sonata no.1 in F major (1876)
Piano Sonata no.2 in A minor (1878)
Sieben Charakterbilder (1872)
Five Miniatures (pub. 1926)

Richard Deering (piano)

Heritage Records HTGCD140-141 [two discs, 87’15’’]
Producer/Engineer: Paul Arden-Taylor
Recorded 15 July 2023 at Wyastone Concert Hall, Wyastone Leys, Monmouth

written by Richard Whitehouse

What’s the story?

Heritage continues its coverage of unfamiliar British music with this set featuring much of the music for solo piano by Hubert Parry, representative of those earlier years when his immersion in the Austro-German tradition was being leavened with a more personal vein of expression.

What’s the music like?

Although he had essayed two sets of shorter pieces in the late 1860s, Parry’s large-scale piano works come from the following decade. The First Piano Sonata owes a debt to Beethoven but also Mendelssohn and Weber, the eddying restraint of its first movement finding contrast with the capricious charm of its scherzo or wistful poise of its Andante. The finale duly heads from a pensive introduction to an elegant Allegretto that, in turn, finds greater animation in its coda. Modest in scope, the whole piece has a limpidity and understatement which is most appealing.

The Second Piano Sonata, if not that much longer, none the less leaves a greater impression – not least as the influences of Schumann and Brahms are more evident. The opening Allegro features a Maestoso introduction that recurs after the development and in the coda to deepen this music’s ingratiating manner, then the Adagio touches on deeper or even darker emotions. The ensuing Scherzo is more rhythmically incisive than its predecessor and while the finale is marked Allegretto, it builds to a decisive close – the introductory music again in evidence.

Before either of these sonatas, Parry composed a set of studies entitled Charakterbilder but with the intriguing subtitle Seven Ages of Mind, which suggests an evolving concept akin to several of Schumann’s collections. The Dreaming of a whimsical Prelude is followed by the impetuosity of Learning then the histrionics of Passion. The trenchancy of Striving precedes the eloquence of Longing then the elation of Triumphing, and though the final Adagio is untitled, its mood of inward rapture might well be thought of as being Fulfilling.

Parry soon went on to write a notable Piano Concerto and engaging Theme and Variations, but little further for the solo instrument until late in life. Published posthumously, the Five Miniatures likely emerged over a quarter-century – the initial Sleepy having an affecting charm complemented by the winsomeness of A Little Christmas Piece then wry humour of Capriccio. Greater profundity is hinted at in the ensuing Pause before this sequence reaches its close with the bittersweet resignation of Envoi – most delicate of miniatures.

Does it all work?

It does. Parry was still in the process of finding his own voice (which, as can be heard from his later choral and orchestral works, was a distinctive one) when writing this music, which should not detract from the technical finish and emotional warmth in much of what is heard here. It helps that Richard Deering brings out its salient qualities through playing responsive to the composer’s idiomatic if stylistically undemanding pianism, as rendered on a Steinway D which clarifies a preponderance of ‘middle range’ keyboard sonorities and passagework.

Is it recommended?

It is. The sound has all the clarity and perspective expected, and there are useful background notes by Lisa Hardy. A follow-up release featuring the Theme and Variations, along with the three sets of Sonnets and Songs without Words and the Schulbrede Tunes, would be welcome.

Listen

Buy

You can explore purchase options for this album at the Heritage Records website. For more information, click on the links for performer Richard Deering and for the Hubert Parry life history

Published post no.1,981 – Tuesday 17 October 2023

Online Concert: Wayne Marshall @ Wigmore Hall

Wayne Marshall (piano)

Wigmore Hall, Monday 9 October 2023 1pm

by Ben Hogwood

And now for something completely different…presenting Wayne Marshall on the piano at the Wigmore Hall, delivering the latest BBC Radio 3 Lunchtime Concert without a script.

Marshall is renowned for his abilities as an improviser, but even he had not tried this approach before, whereby the whole hour’s music took place at the suggestion of the audience – both in the venue, via submissions placed in a box beforehand, and over X / Twitter, where listeners made their own suggestions.

The results are actually remarkable, a testament to the power of music in the moment. Try watching the concert online without knowing what will come up – but if you want a guide for repeat listening, timings can be found at the bottom.

5:51 – Erroll Garner Misty
11:48 – John Williams Hedwig’s Theme (Harry Potter)
18:34 – Gershwin I Got Plenty O’ Nuttin (Porgy & Bess)
25:06 – J.S. Bach Toccata and Fugue
34:33 – Rachmaninov Rhapsody on a Theme of Paganini – as though played by Art Tatum
40:30 – Stevie Wonder You Are The Sunshine Of My Life
44:25 – Cole Porter Let’s Do It (Let’s Fall In Love)
50:03 – Copland Fanfare for the Common Man
56:00 – Stravinsky The Rite of Spring

For more livestreamed concerts from the Wigmore Hall, click here