Scherzo de Concert Back to list of works index

Medium	Artists	Label	Matrix	Format	Date	Review	Locations
Flute, piano	Kaoru Namba, Ryusuke Numajiri	Jasrac KKCC 3015		CD	2006		WC, TM

The Shadow of Dreams: romantic melody

Medium	Artists	Label	Matrix	Format	Date	Review	Locations
Piano	Rosemary Tuck	Marco Polo 8.223699		CD	1993		BL, NX, PD, TM

Silver-Cloud: an Indian maiden's song

The hyphen appears in the title in the sheet music, but was omitted from the composer’s synopsis in the same source. Different versions also have additional subtitles Descriptive piece or Intermezzo.

Andrew Lamb has pointed out the similarities between this piece, which dates from 1915, and Silver Bell, composed by Percy Wenrich in 1910.

Composer’s synopsis

This piece opens with a quiet, melodious introduction, foreshadowing the song of "Silver Cloud", a beautiful Red Indian maiden - followed by a section in the minor, in which the beating of the tom-tom and the rhythmical melody, in a low register, suggest the loneliness of the prairie and the sombre nature of the Red-skin. These lead to a major section in which melodious phrases of a graceful nature work up to a characteristic climax. A few bars of introduction precedes the "Song of Silver Cloud" (assigned to the oboe in the orchestral arrangement) which expresses the tenderness of young maidenhood. A short episode (in which the jingle of horses' trappings suggests the arrival of the lover) leads to the repetition of "Silver Cloud's" Song (Grandioso) and a few characteristic bars bring the piece to a finish in an atmosphere of happiness and the joy of youth.

Medium	Artists	Label	Matrix	Format	Date	Review	Locations
Orchestra	Regal O, ?Ketèlbey	Regal G 7243	35860 or 35820	10” 78	[Feb 16]
	Re-issue	- Naxos 8.1110870		CD	2004		BL, NX, PD, TM
Organ	Richard Ellsasser (John Hays Hammond Jr. Museum, Gloucester, Mass.	MGM E 3282		LP	1955		WC,TM

The composer’s recording has two cuts totalling 31 bars: the first is of the opening section, the other a repeated section material. The average speed is crotchet = 83, notable faster than the published metronome mark of 72.

Ellsasser plays the work complete, even with added “tom-tom” bars between sections. Now and then he alters the harmony, and he ends quietly rather than fortissimo.

A Song of Summer

Medium	Artists	Label	Matrix	Format	Date	Review	Locations
Piano	Rosemary Tuck	Marco Polo 8.223699		CD	1993		BL, NX, PD, TM

Suite romantique

An article on Ketèlbey in Radio Times 4th September 1931 p.203 says “while still at college conducted his Suite Romantique for full orchestra”. However, contemporary reviews of the orchestral suite performed on 8th June 1896 give the movements as Scherzo, Elegie and Tarantella.

A Romantic Suite was performed on 14th June 1922 at Trinity College of Music by the College Orchestra conducted by the composer, reported in The Times, 15th June 1922, p.12: “Mr Ketelbey’s Romantic Suite was well-constructed, light music, and he brought an experience to the conductor’s desk which ensured its success.”

The copyright was assigned to Bosworth on 5th October 1923, and the work was given it official “first performance” by the Bournemouth Symphony Orchestra conducted by the composer at the Winter Gardens, Bournemouth on 10th April 1924.

Composer’s synopsis

1. Romance (Réveil d'Amour)

The first movement opens with a quiet melody followed by an episodical section which works up to a passionate climax. After a mild expression of diffidence by the lady, and reassurance by the lover, the first theme is resumed, indicating a reciprocity of feeling, and the movement ends quietly and serenely.

2. Scherzo (Pensées Troublées)

In the second movement, Scherzo, the lovers are parted, doubts and fears of impish malignity dart through their minds. The man is particularly pestered by a theme played by the L.H., which, becoming more and more insistent, is finally reinforced ff, and followed immediately by a glissando harp scale-passage and a bass-note representative of a cymbal. The movement concludes after the reappearance of the first theme with a short chromatic Coda, suggestive of the lovers' unsettled state of mind.

3. Valse Dramatique (Querelle et Reconciliation)

In the final movement, Valse Dramatique, the lovers meet at the dance, and the man's protestations of love are renewed; this becomes the theme of the waltz. A disturbance ensues, which causes a cessation of the dance. After a pause the dance is resumed softly, the bass by playing after the beat, indicating that complete order is not yet restored, while the lady chides her lover in a phrase super-imposed upon the original waltz theme, The lover responds penitently, through the medium of the melody in the L.H., and renews his love-theme even more ardently. The waltz is renewed with full vigour and a short Coda brings the Suite to a lively conclusion.

Medium	Artists	Label	Matrix	Format	Date	Review	Locations
Orchestra	Czecho-Slovak Radio SO, Leaper	Marco Polo 8.223442		CD	1992	Apr 94 p.48	BL, NX, PD, TM
	Re-issue	- Naxos 8.554709		CD	1999		TM

- 1. Romance

Medium	Artists	Label	Matrix	Format	Date	Review	Locations
Orchestra	Czecho-Slovak Radio SO, Leaper	Naxos 8.557789	Re-issue from 8.223442	CD			NX
Piano	Phillip Sear	private recording		web	rec.Feb 2008

Phillips Sear’s version can be seen at http://www.youtube.com/watch?v=_auqyi4A7dY&feature=results_video&playnext=1&list=PL53A772D1D62389AC

Sunbeams and Butterflies: piano novelty

The copyright was first assigned to Bosworth on 19th September 1924 under the title Schmetterling = Papillons. On 30th September 1926, it was given the English title Butterfly's Frolic, as no.3 of Six Pieces by André de Basque. This was replaced by a new assignment on 1st January 1938, saying that the work had been issued under the title Sunbeams and Butterflies. On stylistic grounds it is likely that the original Schmetterling lacked the 14-bar introduction, and was perhaps scored without the solo piano.

Medium	Artists	Label	Matrix	Format	Date	Review	Locations
Piano with orchestra	Monia Liter, London Palladium O, Greenwood	HMV C 3024	2EA 6514	12” 78	[Aug 38] rec.June 38	Aug 38 p.118	BL
	Re-issue	- Victor 36372		12” 78	[ca.1940?]		PD
	Re-issue	- Pearl GEMM CD 9968		CD	1992		BL, PD, TM
	Re-issue	- 1DCD 7		CD		VLM Winter 98
	Re-issue	- Evergreen Melodies C 62		CD	[1999]		PD, TM
Piano with dance band	Elite Novelty O	Bosworth BC 1062	CP 506	10” 78	[Jan 39]	Apr 39 p.480	WC, (TM CD)

Monia Liter varies one string of straight crotchet chords by arpeggiating them.

The Elite Novelty Orchestra seems to consist of piano, violin, 2 saxophones, trumpet, double bass and drums, and the accompaniment is much reduced. The main section is taken with much rubato, but at average speed of dotted crotchet = 108, faster than the published metronome of 92.

A Sunday Afternoon Reverie: an appreciation of the Decca Sunday Radio Concerts

Could this be the first purpose-composed signature tune, with its melodic material constructed on the letters D E C C A? The sheet music was never published.

Medium	Artists	Label	Matrix	Format	Date	Review	Locations
Orchestra	Westminster Light SO	Decca K 604	GA 3288	12” 78	[Nov 31] rec. Sept 31	Nov 31 p.227	BL, TM
	- Naxos 8.1110870			CD	2004		BL, NX, TM

The recording only lasts 3’ 05”, which was very poor value for a whole side of a 12 inch 78! Peter Dempsey says the conductor is Claude Ivy. It can be heard at http://www.youtube.com/watch?v=GGBbkCG93DY

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Sunset Glow: rêverie (tone picture)

Medium	Artists	Label	Matrix	Format	Date	Review	Locations
Military band	Silver Stars Band, Ketèlbey	Regal G 8526	A 4042	10” 78	[Mar 26] rec.Nov.25		TM
	Re-issue	- Naxos 8.110869		CD	2003		BL, NX, PD, TM
Military band	Silver Stars Band, Raybould	Regal G 8526R	WA 5648-1	10” 78	rec.13.6.27
Piano	Rosemary Tuck	Marco Polo 8.223699		CD	1993		BL, NX, PD, TM
Carillon	Trevor Workman	Bournville Carillon BC000005		CD	2003		TM

The recording by Workman uses his own arrangement, and was made at a live performance on Bournville Carillon, Birmingham, on 9^th August 2003

Ketèlbey makes 3 cuts totalling 28 bars, but no significant material is lost. The speed of his opening section is crotchet = 75, faster than the published metronome of 69. Rosemary Tuck’s subtle rubato averages at crotchet = 61. Trevor Workman has the same speed as the Ketèlbey, but with even more rubato.

Sweet Louisiana: valse

This was one of three slow waltzes dating from 1916-20 which were obviously written for use in the ballroom.

Medium	Artists	Label	Matrix	Format	Date	Review	Locations
Orchestra	?	Columbia	?		?not issued
Piano	Kenneth Boulton	Cambria CAMCD-1171		CD			NX

The Columbia recording was announced as “available shortly” in Musical Opinion Jan 21, but no further details have been found.

Lucky for us, the title fitted in with a Louisiana project planned by Boulton. The music seems to have no other connection with that state.

The Swiss Dancing Doll

This piece the composer’s last published work, dating from 1958. The orchestral arrangement is by Frank Naylor.

Medium	Artists	Label	Matrix	Format	Date	Review	Locations
Orchestra	Continental Theatre O, Buchold	Bosworth BCV 1328	CTP 18495	10” 78	[1959?]
Orchestra	Continental Theatre O, Mattes	Bosworth BCV 1469	BOS 390	10” 78	[1965?]
	Re-issue	- Bosworth BOCD 162		CD	1989		BL, TM

Even though the transfer lasts only 1’ 29”, the 80-bar piece is cut twice, by a total of 12 bars. There is a bad tape join after one cut – did something go wrong in the missing 4 bars, that they needed physically excising?