Notes and Editorial Reviews
One cannot help but agree with Charles Porte when he wrote (in
1921) that Stanford’s Piano Trio No.1 is the work of ‘a
master-musician both from a technical and aesthetical point
of view ...’ He then considers how surprised the dedicatee
Hans von Bülow must have been at the sheer quality of this
work bearing in mind the standard of the British music of the
period in which it was written. In fact, von Bülow wrote
to the composer, ‘Good gracious! What wonderful progress
your country is making owing to your genius’, after he
had received a
copy of the work whilst in Hamburg. Accepting
the dedication of the work, he went on to say that, ‘together
with Brahms' Op. 108, it was the best piece of music that his
name had been adorned with’.
Now, [most] present-day music critics have amended their views
about the ‘Land without Music’ during the Victorian
era, and accept that much first-class music had been written
during this period. However, the fact remains that this Trio
is a cut above the competition. The listener is conscious of
the work's inventiveness and inspiration from the very opening
bars. There is a fine balance between the classical construction
of the work and the romantic tone of much of the music.
The Trio is interesting in having no slow movement as such -
the middle movements are an ‘allegretto con moto’
and a ‘tempo di minuetto’. However, this is not
a particular problem as the latter movement is much more serious
in intent than the title may at first imply. And the former
movement has a number of relaxed and reflective episodes that
offer considerable emotional variety. And finally, the lovely
second subject of the first movement gives depth to this work
without descending into sentimentality. The final ‘allegro
moderato’ is a turbulent sonata rondo, which I believe
asks more questions than it answers.
This is a beautiful, satisfying and technically competent work
that is full of spontaneity and invention. It deserves to be
in the repertoire of all chamber music ensembles.
The Piano Trio No. 1 in E flat major, Op.35 was first performed
at an Oxford Musical Union concert on 25 November 1889 and was
subsequently heard in London in January 1890 at one of Edward
Dannreuther’s chamber concerts at Orme Square, Bayswater.
The Legend is an exquisite little discovery. The liner-notes
tell us that it was published in 1893 at a time when the composer
was ‘flitting’ from Harvey Road in Cambridge to
Holland Street, Kensington. This is a reflective work that in
spite of its good-natured middle section speaks of deeper thoughts.
Like most musical ‘legends’ it is not possible to
tell what the ‘programme’ might be. It does not
matter: it is a perfect evocation of the Irish character and,
at the start and conclusion, the landscape.
Stanford completed the Six Irish Fantasies Op. 54 in October
1893. They were dedicated to the violinist Lady Wilma Hallé.
In their day, they were exceptionally popular, both in the recital
rooms and with ‘gifted amateurs’. The two numbers
presented here are the ‘Jig’ and the ‘Hush
Song’ which were the third and fifth movements respectively.
The Jig is a beautifully realised pastiche of the Irish dance
given in the form of a theme with variations. I am not aware
if any traditional tune was used; however the result is convincing
and is in Stanford’s best ‘Irish’ style.
The deeply moving ‘Hush Song’ is a lullaby that
creates a feeling of stasis and serenity. It is more complex
than a first hearing may suggest. Jeremy Dibble notes the ‘hypnotic
effect [created by] ... its delicious diatonic harmonies but
also from its unexpected tonal divergences’. For the curious
the other four movements are ‘Lament’, ‘Boat-song’,
‘War Song’ and ‘Reel’.
I guess I am greedy, but I feel it is a pity that all six of
the Irish Fantasies could not have been shoehorned onto this
CD as I understand that they are not currently available anywhere
else. However, there are technical limits! Perhaps they could
have been provided as ‘downloads’ from the Naxos
site? Let us hope that they appear in the near-future on subsequent
The top-line comment for the Piano Quartet No. 2 in C minor,
Op. 133 is Wow! We have the Stanford (and many other
composers) scholar Jeremy Dibble to thank for editing the manuscript
of this work and producing a performing edition. It was given
its first modern performance at the Corbridge Festival, Northumberland,
in August 2010 by the Gould Trio. The liner-notes suggest that
the work probably only received a single contemporary performance
by members of the Wesseley Quartet and the pianist Johanne Stockmarr
at the Bechstein Hall (now the Wigmore Hall) on 14 March 1914.
It is almost unbelievable that a work which is so manifestly
impressive has remained unheard for over ninety years.
The work is a product of Stanford’s time of political
involvement with the anti-Home Rule movement in Ireland and
of his support for Edward Carson in Ulster. Although there is
not a political programme to this music, the seriousness and
depth of the argument can be compared to the great Irish Rhapsody
No. 4 with its wide emotional sweep from grandeur and boldness
to tenderness. That Rhapsody was prefaced by the following lines:
- ‘Land of Song!’ said the warrior-bard, ‘Tho’
all the world betrays thee, One sword at least thy rights shall
guard, One faithful harp shall praise thee!’ and carries
the subtitle The Fisherman of Loch Neagh and what he saw.
The Piano Quartet is written in strong contrasting movements.
The opening is simply stunning - two contrasting themes present
a balance between a restive mood and one of open-hearted generosity,
and, rare for this work, warmth. This is one of the finest ‘first
movements’ that I have heard from Stanford’s pen.
It has been well summed-up by Jeremy Dibble as being a display
of ‘passionate gravity’.
I find the slow movement deeply moving and often troubling.
The notes point out that this music moves between 3/8 and 5/8
time creating an unsettling mood. There is much here that nods
to Irish music, without an actual folk tune being utilised.
However there is nothing pastoral or bucolic about this movement,
nor is it in any way heart-easing or encouraging.
The ‘scherzo’ is to my mind scary. There is much
happening in this movement that pushes the emotional content
beyond most of what Stanford has previously written. It is not
achieved by dissonance but by rhythm and a sense of propulsion
that seems almost inhuman. However the trio section does restore
the equilibrium a little.
The last movement, an allegro, which as Jeremy Dibble points
out, ‘exudes an air of confidence’ with its large
and generously proportioned main theme. This movement is to
a certain extent cyclical with references to the slow movement.
The most magical part of the work is a reminiscence of the opening
of the first movement in a moving ‘tranquillo’ shortly
before the coda and the positive conclusion.
Whatever one’s political views about the ‘Home-Rule’
movement and Edward Carson’s opposition to it, there is
no doubt that it was a time of great stress and worry for all
people living in Ireland. This was a period when various private
armies began to line up against each other with tragic results
that rolled on into the future. The present Piano Quartet is
the Dublin-born Stanford’s expression of the fears, doubts
and hopes of many Irishmen, most especially Ulstermen. As such,
it is supremely successful: to my mind it is a major masterpiece
of the chamber music repertoire.
The playing of all the music on this CD is simply superb. The
Gould Trio, David Adams and Benjamin Frith are bold advocates
for this important and interesting music. It is finely recorded.
The notes by Jeremy Dibble are extremely helpful.
I need to say little in summary. My feelings about this CD must
be fairly apparent to anyone who has followed my review so far.
This is one of the best CDs of British chamber music to be released
in recent years. It is essential listening for anyone who loves
Stanford and/or British chamber music. How anyone could listen
to this CD and still believe that Stanford’s music is
‘as dry as dust’ totally evades me.
-- John France, MusicWeb International Read less
Works on This Recording
Legend by Charles Villiers Stanford
Lucy Gould (Violin),
Benjamin Frith (Piano)
Period: 20th Century
Written: by 1893
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