Composer: Alan Rawsthorne
Works: Oboe Quartet (1935), Lament for a Sparrow (1962), Studies on a Theme by Bach (1936), A Canticle of Man (1952), Concerto for Oboe and String Orchestra (1947)
Performers: Jill Crowther (oboe), David Heathcote (tenor), Stephen Pascoe (baritone), David Watkins (harp), Alan Cuckston Singers, City of Bradford Chamber Orchestra, English Northern Philharmonia
Recording: Pateley Bridge Parish Church, July 2000 (Lament, Canticle of Man); Leeds University Great Hall, June 2000 (Oboe Concerto); ASC Recording Macclesfield, May and June 2000 (Oboe Quartet, Studies)
Label: NAXOS
Alan Rawsthorne’s musical language, characterized by its lyrical richness and intricate counterpoint, finds a significant platform in this welcome NAXOS release, which showcases several of his lesser-known yet compelling works. Rawsthorne, a prominent figure in 20th-century British music, often navigated a delicate balance between modernism and accessibility. This recording spans a wide array of his output, from early chamber works to more mature choral settings, offering a tantalizing glimpse into his evolving compositional voice.
The Oboe Quartet, composed in 1935, is a remarkable example of Rawsthorne’s early stylistic maturity. The three movements unfold with a blend of playful exuberance and poignant introspection. Jill Crowther’s interpretation highlights the oboe’s expressive potential, weaving through the intricate dialogues with the strings. The second movement, marked by its lyrical themes, is particularly effective, allowing the oboe to soar above the ensemble, while the final movement’s rhythmic vitality captures the essence of Rawsthorne’s engaging writing. The recording quality, clear and well-balanced, ensures that the subtleties of dynamics and articulation are vividly presented, a crucial factor in conveying the work’s emotional spectrum.
Transitioning to the larger choral works, “Lament for a Sparrow” emerges as a significant piece that demonstrates Rawsthorne’s skill in setting vocal lines to text. The setting of Catullus’ poem, with its poignant themes of loss and nostalgia, is skillfully rendered. David Heathcote’s tenor voice complements the mixed choir, although some intonation issues are apparent, particularly in the more complex choral passages. The harp’s delicate coloring adds an ethereal quality, enhancing the poetic imagery. Despite these minor shortcomings, the performance captures the essence of Rawsthorne’s choral language, which often demands a deft handling of both vocal and instrumental forces.
“A Canticle of Man,” composed in 1952, represents a further development in Rawsthorne’s exploration of human themes. The collaboration with poet Randall Swingler yields a work steeped in Blakean motifs of innocence and existential inquiry. The baritone’s declamatory passages interspersed with the choral writing create a reflective dialogue that feels both intimate and expansive. While the Alan Cuckston Singers exhibit commendable effort, their occasional struggles with pitch stability detract somewhat from the overall impact of this ambitious work. Nonetheless, the lush instrumental backdrop, particularly from the strings and flute, provides a rich canvas against which the vocal lines can resonate, although one can speculate that a more grandiose orchestration might have elevated the emotional stakes further.
The recording of the Concerto for Oboe and String Orchestra stands as a testament to Rawsthorne’s mastery of form and orchestration. Here, Crowther’s performance is exemplary, showcasing both technical prowess and emotive depth. From the exuberant outer movements to the introspective second movement, the concerto encapsulates Rawsthorne’s ability to blend intricate counterpoint with lyrical beauty. The English Northern Sinfonia provides a robust accompaniment, ensuring that the oboe’s voice remains front and center without overwhelming the orchestral fabric.
Rawsthorne’s work has often floated in the shadows of more prominent contemporaries, but this release serves as a vital corrective. Each piece, from the intimate chamber works to the expansive choral settings, reflects the composer’s nuanced understanding of human emotion and instrumental color. The engineering captures the warmth of the performances while maintaining clarity, allowing listeners to appreciate the intricate details in Rawsthorne’s scores. Through this recording, Alan Rawsthorne’s multifaceted artistry is brought to light, reminding us of his significant yet often underappreciated contributions to the 20th-century canon.
