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

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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)

 

Re-issue

- Guild GLCD 5216

 

CD

2014

 

 

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

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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

 

            .                                              

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 9th 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

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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?