I surprised myself when I found that I eventually ended up
with a six part blog which, even then, left out many composers that, I am sure,
many followers would have expected to be included.
One composer that definitely had to make it into my blog was
Sir Lennox Berkeley (1903-1989).http://theclassicalreviewer.blogspot.co.uk/2012/06/celebrating-british-music-part-5.html.
Berkeley is one of those composers that, along with such other composers as
Rubbra and Rawsthorne, made a distinctive contribution to British music of the
20th century, yet have not had the public profile that they deserve.
Boydell Press www.boydellandbrewer.com
have just published a fascinating book called Lennox Berkeley and friends, a
collection of writings, letters and interviews that give a wonderful insight,
not only into the composer himself, but also into other music figures of the
age.
 |
| Boydell Press 344 pages ISBN 9781843837855 |
Edited by Peter Dickinson, who has already given us The Music of Lennox Berkeley also published
by Boydell Press www.boydellandbrewer.com,
this new book contains a fascinating collection of writings including his
series of reports that he wrote from Paris for the Monthly Musical Record,
letters to his teacher Nadia Boulanger, a selection of Berkeley’s later
Writings and Talks, four interviews with the composer, extracts from Berkeley’s
diaries, interviews with performers, composers, family and friends, as well as
a full catalogue of works and sixteen pages of black and white plates.
There is an interesting introduction
by Peter Dickinson that sets out some biographical information before the
section that has the ‘reports’ from Paris
that Berkeley wrote between 1929 and 1934 for the Monthly Musical Record.
These give a fascinating insight into the musical life of Paris of the time; a
musical life that Berkeley was well involved in with his studies under Nadia
Boulanger and friendship with Poulenc. These reports were not from someone
merely in the thrall of other composers, as Berkeley could be quite outspoken
in his views. He seems to have admired Stravinsky immensely whilst commenting
on Milhaud’s works as ‘never seem to be satisfactory’ and ‘a little patchy’
(Viola Concerto).
In a report from December 1933 Berkeley shows his range of
musical interests when he reveals his appreciation of the works of Palestrina,
Lottie, Schutz and Gluck which he had recently heard.
Berkeley’s letters to
Nadia Boulanger during the period 1924-1974 contain many fascinating
comments on his own works, the works of other composers, as well as performers
such as Gieseking, Stravinsky playing his own Duo Concertante with the
violinist, Samuel Dushkin, Walton (whose First Symphony he didn’t seem to
like), Copland, and of course Britten.
He writes from London about being ‘suffocated with Sibelius,
Delius, Ireland and Vaughan Williams’.
He is in Paris in October 1939 when he writes to Boulanger about his
concerns over the impending war. The letters continue throughout the war, from
London, where he writes about his diminished pacifist views, through the 1950’s
with the deaths of Dinu Lipati and Kathleen Ferrier to the later letters where
he asks if Nadia Boulanger can spare time to see a young John Taverner and his
father when they visit Paris. These are just a few of the tantalising subjects
that will be found in these letters.
The selection of Berkeley’s
later Writings and Talks (1943-1982) includes writings on such themes as Britten
and his First String Quartet, Modern French Ballet Music (1946), British Music
Today (1949), an insightful analysis of Britten’s Spring Symphony, Faure,
Poulenc – An Obituary, Lili Boulanger, Alan Rawsthorne, Ravel, and a 1982
Centenary Tribute to Stravinsky. In Concert-Going in 1963 he compares the riot that broke out at the premiere of The
Rite of Spring, with modern audiences and the apathy to which they ‘seem so
often to be sunk.’ There is also a poignant musing on old age written in 1981.
In the four fascinating interviews
with Lennox Berkeley made between 1973 and 1978, the first, with Peter
Dickinson on the occasion of Berkeley’s 70th birthday, he recalls
his study under Nadia Boulanger and her teaching methods. In the second with
C.B. Cox, Alan Young and Michael Schmidt, in 1974, there are insights into his
view of a number of French and English composers. In the third interview from
1978, on the occasion of Berkeley’s 75th birthday, again with Peter
Dickinson, he again talks of his own music, whilst touching on Britten and John
Tavener. In the fourth of the interviews, with Michael Oliver, again from 1978,
he discusses his symphonies.
Then there are the extracts from Berkeley’s diaries from
1966-1982. Berkeley by his own admission was not a very consistent diarist and,
in one entry from 1978 he writes,’ Complete failure to keep this diary during
the first months of this year.’ But
other entries are much longer with many insights such as his entry in December
1970 about Michael Tippett’s opera The Knot Garden.
There are anecdotes such as when a party of German guests
arrived during a dinner in Monte Carlo in 1968, where Berkeley was with fellow
jury members, who included, amongst others, Nadia Boulanger and the Danish
composer Vagn Holmboe or, on another occasion, when he records the Queen
Mother’s view of certain Norfolk houses. Conductors don’t get overlooked as
with Sir Adrian Boult, of whom he writes, surprisingly, ‘He’s not a very
inspiring conductor, but extremely efficient…’
Part VI of the book has interviews with such people as
Julian Bream, Norman del Mar, Colin Horsley, John Manduell, Nicholas Maw, Malcolm
Williamson, Freda Berkeley, Michael Berkeley, Basil Douglas and Desmond
Shawe-Taylor.
Norman del Mar has many interesting things to say and, as would be expected, the family members, his widow Freda and son Michael are able to give real personal insights into the man himself.
In the final part of the book there is a transcript of a
memorial address given by Sir John Manduell at Westminster Cathedral on 20th
March 1990. Finally there is a catalogue of works, bibliography, index of works
and an excellent general index.
This is a beautifully produced book that will appeal to
many, not just Lennox Berkeley enthusiasts or even just lovers of English music.
Having as it does so much about the music of Britain and France during the
fascinating interwar and post war years, it will have a wide interest.
The publication of this book was supported by the Lennox
Berkeley Society
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