Not a lot has been written about British composer Roger Sacheverell Coke (1912-1972). He was born in Alfreton,
Derbyshire, England to an upper middle class family. His father was killed
during the First World War when Roger was only two years old. He studied with
John Frederic Staton and Alan Bush (1900-1995). Mental health problems seem to
have played a part in his failure to establish himself as a composer yet he
wrote a considerable amount of music including chamber works, a large number of
songs, six piano concertos, three symphonies and an opera.
It is no wonder that Rachmaninov became such an influence on
Coke. The Russian composer stayed with Coke in Derbyshire and returned the
compliment by inviting his fellow composer to stay at his house Senar on the banks of Lake Lucerne in
Switzerland. Coke dedicated his Second Symphony to Rachmaninov.
In the absence of
other sources, I am grateful to the excellent booklet notes by Robert Matthew
Walker included in a new release from Somm Recordings www.somm-recordings.com of
Coke’s Preludes, Op.33 and Op.34 coupled with his Variations, Op.37 featuring
pianist Simon Callaghan http://simoncallaghan.com
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| Somm Celeste SOMMCD 0147 |
Last year EM Records issued Roger Sacheverell Coke’s Sonata
for Violin and Piano No 1 on a disc of similar works by Granville Bantock and
Cyril Scott www.em-records.com/discs/emr-cd018-details.html
So little has been available of this composer’s music that this new Somm
recording is most welcome.
Of his Preludes, Op.33 (1938-39) No. 1 Appassionato is very much in the grand manner, full of stormy
drama. Prelude No. 2. Andante brings some rather Chopinesque descending phrases before
developing in a more advanced direction. No.3.
Andantino reveals more of Coke’s distinctive style, rising from a
thoughtful opening, through a rather sterner section to a subdued coda. It is
hard not to hear the influence of Rachmaninov in Prelude No.4. Molto maestoso
but in a wholly engaging manner with distinctive touches, particularly in the
coda. No.5. Andantino has a looser
feel, a free moving forward motion, again distinctive in character despite the
descending phrases part way through that again recall Rachmaninov.
After a stormy, unsettled Prelude No.6 Presto agitato,
the Prelude No.7. Grazioso has some lovely harmonies, a gentle dissonance
and a lovely hushed coda. No.8. Lento
maestoso has gentle, rippling phrases as well as moments of hushed,
suspended beauty. Callaghan gives Prelude No.9. Leggiero scherzando a
lovely rhythmic lift, beautifully paced and phrased. No.10. Vivace has a fine forward, rippling flow, beautifully played
here with this pianist bringing a lovely persuasive touch. The most substantial
of the Op.33 set is the Prelude No.11.
Andante cantabile, a gentle, finely phrased work with moments of exquisite
feeling. Scriabin comes to mind a little as the music builds, Callaghan
revealing it as a particularly fine piece.
The 13 Preludes, Op.34
(1941) make up the total of 24 Preludes. No.12. Allegro scherzando brings an energetic opening before a very
Rachmaninovian fall to a quieter section. When the music regains energy I
detected a rather more desperate feel to Coke’s imagination. Coke brings some
individual touches to the nevertheless rather Rachmaninovian Prelude No.13. Cantabile before No.14.
Allegro assai where Callaghan brings
a finely articulated flow, quite lovely. Prelude
No.15. Andante cantabile has a rather withdrawn, thoughtful atmosphere
before No.16. Andantino pathetico
continues with a rather thoughtful, slowly developed idea, oddly distinctive.
The limpid, gentle harmonies of No.17. Moderato bring another distinctive piece, very engaging.
Prelude No.18. Presto agitato fairly hurtles
ahead with some very fine fluency from this pianist. In the Prelude No.19. Allegro comodo it is lovely how Coke overlays the stormier motif
with the flowing theme of the right hand. Broad phrases allow the gentler Prelude No.20. Languido e rubato to find its way slowly forward, beautifully
developed. Prelude No.21. Amabile brings more of Coke’s
distinctive harmonies and dissonances whereas No.22. Andantino has broader phrases that bring a more dramatic
feel with some fine sonorities. Prelude
No.23. Amabile brings some lovely
harmonies, again so typical of this composer before No.24. Maestoso brings this cycle to a tempestuous conclusion with
a dramatic descending motif showing this fine pianist in some terrific
passages.
The Variations, Op.37
(1939) were dedicated to the Russian pianist Prince George Chavchavadze.
The opening Theme: Lento sounds like
a variation itself, such is its spacious, loosely held theme. It leads quickly
into the brief Variation 1: Più Mosso
before the rippling, beautifully developed, Variation
2: Allegro. Variation 3: Lento assai, doloroso seems to draw on the
variation style of Rachmaninov, here finely phrased and paced. The shifting
harmonies and freely felt construction of Variation
4: Allegretto brings more of Coke’s
distinctive personal style before broad, firm phrases lead Variation 5: Moderato maestoso
ahead.
There is a terrific Variation
6: Presto scherzando, fluently and brilliantly played and a Variation 7: Chorale - Andantino cantabile
where Coke brings more of his personal touch with a hauntingly felt nostalgia. Callaghan displays a lovely touch in the
rippling Variation 8: Andantino
before a lovely, glowing Variation 9:
Moderato, a really fine piece. Variation
10: Allegro molto energico is full of energy Coke bringing some unusual
harmonies and sonorities, quite individual and finely played, full of
brilliance and virtuosity.
Variation 11:
Intermezzo - Andante rubato is equally distinctive with a carefully, gently
picked out theme and just a hint of Scriabin. Variation 12: Andantino semplice e grazioso brings more attractive
and distinctive harmonies, finely nuanced by Callaghan before the brief stormy Variation 13: Moderato appassionato. A
fast fluent
Variation 14: Allegro
risoluto with some exceptionally fine playing leads to the final
Variation 15: Largo doloroso
where the Dies Irae plainchant, much loved and used by Rachmaninov, seems about
to emerge, bringing a darker, brooding nature. The
Finale: Tempo di Tema
suddenly lightens the mood as it rises up confidently before the quite coda.
For all the references that there are to Rachmaninov and
Scriabin, one should not lose sight of Coke’s personal style that does emerge. These
are rewarding works that deserve to be heard. This composer could not have a
finer advocate than Simon Callaghan who receives an excellent recording from the
Old Granary Studios, Suffolk, England. There are useful and informative notes
by Robert Matthew Walker as well as a nicely illustrated booklet.
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