Composer: Albert KETÈLBEY
Works: The Sacred Hour, Rêverie, Bells Across the Meadows, In a Fairy Realm – Suite, Algerian Scene, Fairy Butterfly, King Cupid, In the Mystic Land of Egypt, Wedgwood Blue, Sanctuary of the Heart, A Dream of Christmas, In a Monastery Garden
Performers: Peter Dawson (bass/baritone), Dennis Noble (baritone), Albert Sandler (violin), Robert Easton (bass), Nellie Wallace (soprano), Florence Smithson (soprano), Ketèlbey’s Concert Orchestra
Recording: Original Historic Recordings Vol. 2 (1917-1939)
Label: NAXOS 8.110848
Albert Ketèlbey, a figure often relegated to the dusty annals of British light music, springs to life once more in this second volume of historic recordings, which encapsulates the lush and often extravagant sound world of the early 20th century. His works, widely performed in the heyday of silent cinema, are characterized by their unabashed sentimentality and melodic richness, providing a fascinating lens through which to view a bygone era of musical expression. This collection, ranging from 1917 to 1939, showcases the composer’s ability to evoke vivid imagery and emotional landscapes, as exemplified by pieces like “In a Persian Market” and “In the Mystic Land of Egypt.”
The performances assembled here are a testament to Ketèlbey’s status within the realm of light orchestral music. Notably, Peter Dawson’s rendition of “The Sacred Hour” is imbued with a gravitas that transcends the material, his robust baritone enveloping the listener in an ethereal ambience. Similarly, Dennis Noble’s interpretation of “In the Mystic Land of Egypt” masterfully balances theatricality with lyrical phrasing, drawing out the piece’s inherent exoticism. The orchestration, led by Ketèlbey himself and other notable conductors like Ray Noble and Henry Geehl, retains a vibrant immediacy that reflects the spirit of the original performances.
Sound quality, while undoubtedly a product of its time, largely holds up to scrutiny, with Naxos executing a commendable restoration that allows for clarity of texture amidst the orchestral bloom. One can discern the delicate interplay between strings and woodwinds in “Bells Across the Meadows,” where the pastoral quality of the music is rendered with an evocative warmth. Yet, a certain period-specific distortion is evident in some tracks, particularly in the more raucous “Algerian Scene,” where the exuberance of the orchestration occasionally overwhelms the finer details.
The interpretations, while steeped in the sentimental excess that characterizes much of Ketèlbey’s oeuvre, also invite scrutiny regarding their modern relevance. Pieces like “Sanctuary of the Heart” and “A Dream of Christmas” indulge in lush harmonies and sweeping melodies that, while charming, may also provoke a deeper examination of emotional authenticity versus manipulation. The delicate waltz of “In a Fairy Realm” offers a sugary experience, but the three movements—“The Moonlit Glade,” “The Queen-Fairy Dances,” and “The Gnomes’ March”—could benefit from a more nuanced approach to prevent it from veering into the realm of the overly saccharine.
The wealth of material presented is a delightful exploration of Ketèlbey’s imaginative landscapes. While this volume may not quite reach the heights of its predecessor, it still provides a rich tapestry for those willing to embrace the unabashed sentimentality that defines Ketèlbey’s music. The evocative melodies and lush orchestrations remain delightful to the ear, a nostalgic nod to an era where music served as a canvas for emotional expression. The collection stands as a testament to Ketèlbey’s enduring charm and the ability of his works to resonate within the context of historical performances, solidifying his place in the pantheon of British light music.
