In
many ways this humble dwelling sums up Havergal Brian’s life of artistic
endeavour and obscurity. Born in the Staffordshire potteries, Brian came from
humble origins but, with financial support from Herbert Minton the wealthy
director of the Minton china firm, by 1907 with the London debut of his English
Suite, he was on the threshold of great success. The press praised him ‘…such a
remarkable success is rarely, indeed, achieved by an English composer who is
almost unknown in the Metropolis…’
Yet
by the time of the First World War his reputation had diminished, his first
marriage had collapsed and he had left the Midlands for London. His perceived
treatment of his first wife did little to endear him to his friends such as
Minton and Bantock. After remarrying he kept the existence of his first family
a secret from the children of his second marriage until his death.
Despite
working for Musical Opinion for a number of years and taking hack work his
financial circumstances were always poor. Even as a music critic Brian’s work
wasn’t without its problems. Writing in the Staffordshire Evening Sentinel in 1909
he criticised a performance of works by Gounod and more specifically the singing
of two local ladies. The Chief music critic threatened to shoot Brian on sight
if he showed his face in the office and a postcard was sent to Brian addressed
to ‘Haver Gall Brian’ with a graph on the back indicating in no
uncertain terms the comparative merits of a certain Miss Nuttall’s singing
against the musical talent of Brian.
Yet
despite all the setbacks Brian, with his determined and, in many ways,
obsessive attitude wrote thirty two symphonies, five operas, over thirty miscellaneous
orchestral works, two concertos, works for voices and orchestra and a number of
piano works.
For more information take a look at The Havergal Brian Society's website, www.havergalbrian.org
His
most famous work is, of course, the colossal Gothic Symphony (No.1) scored for soprano,
alto, tenor and bass soloists, children’s choir, two double choirs, and huge orchestra
and written between 1919-27.
The
Gothic was originally numbered two as Brian had, in 1907–08, composed a work
which he called A Fantastic Symphony. He destroyed half of it, keeping just two
movements as independent works, and it was only in 1966 that Brian re-numbered
his early symphonies so that it became ‘Symphony No 1’.
Attempts
were made to arrange a performance in the 1930 without success and it wasn’t
until 24 June 1961 in Central Hall, Westminster, that a semi-professional
performance conducted by Bryan Fairfax was given. Brian met the composer Robert
Simpson (1921-1997) by chance in 1951.
Simpson’s
support for Brian led to a performance of the Gothic Symphony on 30 October
1966, at the Royal Albert Hall, by the BBC Symphony Orchestra conducted by Sir
Adrian Boult. This led to a renewed interest in the music of Havergal Brian.
By
1975 Lyrita www.wyastone.co.uk had
recorded symphonies number 6 and 16. Later EMI recorded symphonies number 7, 8,
9 and 31 (apparently no longer available but copies obtainable via Amazon www.amazon.co.uk ). In 1988 Hyperion
recorded symphony number 3 www.hyperion-records.co.uk
. It was Marco Polo (Naxos) www.naxos.com that
began a concerted attempt to record all of the symphonies starting with the
Gothic in 1989. Since then they have recorded ten more of the symphonies,
together with the violin concerto and other orchestral works.
Toccata
Classics have also recorded a CD of songs and the legend for violin and piano
and two volumes of orchestral works www.toccataclassics.com
.
Disappointingly
Naxos have released no more recordings but happily Dutton www.duttonvocalion.co.uk have issued symphonies number 10 and 30 as
well as a recording of the cello concerto. Hopefully this is the start of a new
attempt to record all of the symphonies not yet available. With the Lyrita, EMI
and Hyperion recordings this means that twenty of the thirty two symphonies
have been recorded so far.
During
the 2011 proms the Gothic Symphony was performed by the BBC Concert Orchestra
and the BBC National Orchestra of Wales conducted by Martyn Brabbins. The Daily
Telegraph reported that ‘…the symphony produced the unsettling experience of
music poised on the edge of genius – almost a masterpiece…’. This performance
has since been released by Hyperion
So
what of the latest release by Dutton?
 |
| Dutton Epoch CDLX 7267 |
In
many ways this CD is a good way to get to know Brian’s music. The 16 minute
Symphony No. 10 in C minor has all the usual Brian fingerprints, strong
rhythms, brass and percussion and sudden changes of mood. Completed in 1954,
when the composer was 78 years of age, this single movement work calls for a
large orchestra that includes triple woodwind, large brass section, two harps
and a large percussion section including a thunder machine. Most of the
material is developed from the opening march theme and progresses through
moments of storm and fury as well as moments of quiet lyricism.
Symphony
No. 30 in Bb minor, completed in 1967, is in two movements played without a
break. Again a short work at just over 15 minutes, it starts with an expansive
theme that is short lived before moving through a myriad of moods including
some fiercely fragmented climaxes before ending in a triumphant dissonance.
Again the orchestra has a large percussion section.
The
Concerto for Orchestra could almost be another symphony though the deployment
of instrumental forces makes the title of the work apt with a duet for flute
and oboe and later a duet for violin and cello. The orchestra used is smaller
than either of the two symphonies included here. In this work there are less
abrupt changes of mood and, after a glorious lento coda, the work ends with
full orchestra.
The
final work on this disc is the English Suite No.3. The five movements have
titles such as ‘Ancient Village’, ‘Postillions’ and ‘Merry Peasant’ but this is
not a pastoral work in the usual sense. Brian wrote this work whilst living in
Brighton just prior to his move to nearby Moulsecoomb. Brian stated that this
work was inspired by the Sussex countryside around him. The Third English Suite
has been said to be something of a parody of pastoral themes but I tend to hear
it as the countryside and its people filtered through the strange and
distinctive prism of Brian’s musical language.
This
is an important release of English music that should be better known. Certainly
collectors of Brian’s music will need no encouragement but I would also
recommend this CD to those who do not know his music. The recording made in the
Henry Wood Hall, Glasgow is first rate. I really hope that Dutton continue with
more releases of Havergal Brian’s music.
In
my next blog I want to move to music for two pianos and piano duo as well as
the curious incident of the Nokia ring tone.
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