Composer Guides,
Gerald Finzi and Herbert Howells
The English composers Gerald Finzi and Herbert Howells developed similar musical styles, mixing a melodic lyricism with wistful and poignant elements. Both made substantial contributions to the Anglican church repertoire, writing anthems, carols and service music that have become firm favourites. Finzi in particular also composed larger-scale choral works more suited to the concert-hall, though often with spiritual (if not conventionally religious) themes.
Outside the arena of church music Finzi was also an active composer of orchestral and instrumental works, in particular for the clarinet and the piano, and numerous solo songs that are infused with a deep nostalgia akin to that of Gurney or Butterworth; Howells wrote a number of sets of organ and keyboard miniatures that are today sadly somewhat forgotten. Much of his later output was influenced by the sudden death of his son at a young age - immortalised in the hymn-tune entitled simply Michael.
Finzi - Choral and Vocal
Despite the rather obscure-sounding title, Finzi's Intimations of Immortality is a sensitive, almost elegiac treatment of Wordsworth's ode. Meditating on the loss of a childhood connection with nature, it comes to a new understanding of beauty and self-identity. English tenor James Gilchrist has the perfect voice for this music - light, lyrical yet able to rise over the full orchestra and choir as necessary. For St Cecilia continues the tradition of works dedicated to the patron saint of music with an ode tying her closely to English composers - Merbecke, Byrd, Dowland and Purcell are all mentioned by name, as is Handel, the ''friend and generous guest''.
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Finzi's music for the Anglican church has remained enduringly popular with both choristers and congregations; some of his compositions, such as the monumental Lo, the Full, Final Sacrifice (closed by one of the loveliest Amens ever written), are too large for liturgical use but make regular appearances in the concert-hall; others, such as the Ascensiontide God is gone up, have entered the church and cathedral repertoire. The choir of St John's Cambridge have an evident affinity for music of this kind (which was written for just such choirs to sing) and present convincing accounts of a wide range of Finzi's sacred music as well as the secular Seven Poems of Robert Bridges.
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The 'Christmas scene' In terra pax, inspired by the Cotswold landscape of a Christmas Eve night, is a meditation on the Nativity, re-setting it in a pastoral English context and mixing poetry with the Biblical text from St Luke. The soloists in this sensitive, performance are Roderick Williams and Julia Doyle; the disc also includes two of Howells' three 'Carol-Anthems' - Here is the Little Door and A Spotless Rose.
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Roderick Williams is almost unchallenged among baritones as an interpreter of the rich variety of English song; here, ably assisted by Iain Burnside, he brings three of Finzi's song-cycles to life as only he can. Of particular beauty are Fear no more and Come away, death from the Shakespearean Let us garlands bring.
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Finzi - Orchestral and Instrumental
Much of Finzi's non-vocal music features the clarinet; the Clarinet Concerto is perhaps his most well-known instrumental work, combining witty lyricism with a core of deep-welling emotion. Soloist Andrew Marriner is a flexible interpreter who brings out both the light and the shade in this work. The Eclogue, here played by a sensitive Piers Lane, is the wistfully pastoral middle movement of a piano concerto that was never written; a tantalising musical might-have-been and, for me, one of the most beautiful instrumental works of the twentieth century.
Available Formats: Presto CD, MP3, FLAC/ALAC/WAV
Dismissed by the composer as 'only trifles', whose success relative to his more substantial works bewildered and frustrated him, the Bagatelles are a characterful exploration of the full potential of the instrument - Finzi's unmistakeable wistful lyricism is counterbalanced by light-hearted wittiness and, in the final movement, an outright exuberance that is unusual in his music. John Bradbury, accompanied by James Cryer, shows clearly why these eloquent miniatures have become so popular among clarinettists.
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Howells - Collection
It does duplicate some of the other discs I've mentioned, but this glorious disc deserves a mention anyway. Stephen Cleobury's Kings College singers are in their element, particularly so when singing music written specifically for them! Peter Barley's renditions of some of Howells' delightful organ works round off this excellent (and Penguin Rosette-winning) collection, which is available both as a download and as a Presto CD - manufactured by us here at Presto under licence from Decca.
Available Format: Presto CD
Howells - Choral and Vocal
To many people, Howells' reputation rests primarily on his sets of evening canticles, among them three written for the three cathedrals of the Three Choirs Festival. These masterpieces of Anglican music are here paired with the set of four anthems that he wrote during the Second World War, including the popular Like as the hart. The complete set of four (morning and evening canticles) for King's College Cambridge are also featured. Geraint Bowen and the choir of Hereford Cathedral give a clear sound that, at the right moments, becomes achingly expressive.
Available Format: CD
The Hymnus Paradisi was written as a direct and deeply emotional response to the death of Howells' son Michael at the age of ten. For some time, the work remained unknown - Howells only revealing it some fifteen years after Michael's death. It is clear that the writing of the work was a cathartic process - Howells himself described it as a method of escape - and it is one of his most powerful and moving pieces. Joan Rodgers and Anthony Rolfe Johnson take the lead, and Richard Hickox steers the BBC Symphony Chorus and Orchestra through the work's emotional landscape.
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Howells' Requiem is in many ways a mirror of that of Brahms, downplaying the traditional Latin text in favour of, in this case, largely English words. The sumptuous, haunting anthem Take him, earth, for cherishing is surely one of the finest works of English sacred music in existence; written in memory of John F Kennedy, it also draws deeply on Howells' own grief at the tragic loss of his son. Stephen Layton's young, mixed choir at Trinity College Cambridge have the perfect voices for this music - fresh, yet with reserves of richness and depth that pay dividends.
Available Formats: CD, MP3, FLAC/ALAC/WAV
Howells - Orchestral and Instrumental
The considerable body of organ music by Howells has never gained the popularity it deserves - as witness the relative dearth of recordings of this aspect of his output. Here, Graham Barber gives characterful accounts of the Six Short Pieces for Organ (including the triumphant Sarabande for the Morning of Easter and Master Tallis' Testament, Howells' response to Vaughan Williams' Tallis Fantasia).
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Howells' two suites for harpsichord are delightful collections of wry and affectionate homages to his contemporaries - an updated take on the keyboard and lute miniatures of the Renaissance (for instance those in the Fitzwilliam Virginal Book, which often bore similarly personal dedications). The titles read like a 'Who's Who' of the musical circles Howells moved in, with movements honouring, with a touch of friendly humour, such individuals as Malcolm Sargent, William Walton, Arthur Bliss and Adrian Boult. John McCabe's performance (here on a modern piano) makes a convincing case for these sadly-neglected gems.
Available Formats: CD, MP3, FLAC/ALAC/WAV
David Smith - Head of Digital
