Piano Concerto No.1 in C minor, Op.4
Piano Concerto No.2 in C, Op.39
Howard Shelley (piano)
BBC Symphony Orchestra
Howells Piano Concertos
Tuesday, April 17, 2001 CHAN 9874
Reviewed by Colin Anderson
Herbert Norman Howells became a grand old man of British music, dying in 1983, aged 90. He had a 60-year stint teaching at the Royal College of Music and enjoyed a considerable reputation for his choral music anthems and large-scale choral/orchestral works, most notably Hymnus Paradisi. Theres some lovely chamber music too. Richard Hickox has already recorded two CDs of Howellss orchestral pieces for Chandos.
This latest one brings two first recordings. The four-minute Penguinski is a lively ballet score written to welcome the then Prince of Wales to the RCM in May 1933. The penguin-scenario has vanished; what is interesting is the musical allusion to Stravinsky, in particular Petrushka. A second and third playing reveals this miniature to have more going for it than might be first thought; certainly its typical of Howells craftsmanship in its vivid scoring and rhythmic side-slips.
The other recording premiere is the C minor concerto, for which John Rutter has completed the final bars (lost since the first performance in 1914; presumably the sole one as Rutter has also corrected a number of mistakes in the parts). Its not a lost masterpiece, but Op.4 is a remarkably confident work for a young man just turned twenty. In particular the spacious opening movement of this 40-minute concerto, while it might be short on really distinctive ideas is controlled and developed with a very sure hand. Although very firmly in the romantic concerto tradition rhetorical passages and long-breathed interludes with plenty of display and sweet lines for the soloist Howells also establishes his empathy with pastoral expressionism and the use of folksong. There are derivatives in the outer movements of Irish melody a legacy of his studies with Stanford perhaps and theres also a kinship with Vaughan Williams (whose Tallis Fantasia had made such an impact on Howells in 1910). What is fascinating is that Howells, while writing in a style commensurate with his experience, is composing something really quite personal. This is especially so of the slow middle movement Deliuss nature-pictures are suggested, so too something regretful and private that would become ever-dominant as Howells matured. The walking-tune that the piano enters with (three minutes in) seems like a folk-tune with shadows; a very beautiful movement coloured by late-evening meditation of the countryside.
The finale is an ambitious synthesis of moods displaying imaginative instrumental touches and interplay; again open-space imagery is to the fore in the folk-like material. If, as in the opening movement, some of the ideas lack memorability, theres no doubting Howellss resource and control. Rutters final bars seem totally integrated.
The other concerto is brilliant and urbane, somewhat Gallic in the lyrical moments with a New York-panache in the allegros that paints a more cosmopolitan picture of Howells. Theres also a twenties razzmatazz that some of the 1925 London audience didnt care for; a shame, its a wide-eyed piece with big tunes, motoric momentum and beautiful sounds and chords (some with blue notes!). The opening refrain reminds me of I Got Rhythm but Gershwin was still to write Girl Crazy from which that tune comes. Theres also some Copland-esque gestures; one might suppose that Howells wrote this concerto in Paris under the spell of Nadia Boulanger, but as Howells seems to have gone no further than the cities that hold the Three Choirs Festival, then his achievement appears to be a remarkable coincidence. To balance the geographical scales, the Gershwin refrain (running throughout the three linked movements) becomes suggestive of Big Bens chimes a few seconds into the slow movement Vaughan Williamss London mistily suggested.
Howard Shelley is a sympathetic and dashing soloist with Richard Hickox securing some fine playing from the BBCSO. I wish the recording wasnt so spacious, but theres plenty of detail and the balance between piano and orchestra is excellent.