Composer: William Hurlstone
Works: Trio in G Minor for clarinet, bassoon, and piano; Bassoon Sonata in F; Four Characteristic Pieces
Performers: Stephen Emmerson (piano), Murray Khouri (clarinet), Peter Musson (bassoon)
Recording: Continuum CCD 1079
Label: Continuum
William Hurlstone, a promising talent of the early 20th century, left an indelible mark on the landscape of British music despite his untimely death at the age of 30. His Trio in G Minor, composed in 1900, reflects a meticulous craftsmanship that extends beyond mere technicality into the realm of emotional expression. This recording, featuring a trio of accomplished musicians, serves not only to illuminate Hurlstone’s works but to argue for the composer’s rightful place among his contemporaries.
The performance of the Trio in G Minor is particularly noteworthy for its deft balance between the three instruments. Emmerson’s piano lines are both robust and delicate, providing a solid foundation while allowing the clarinet and bassoon to weave their lyrical lines above. The set of variations that forms the heart of the work unfolds with a graceful fluidity, the musicians demonstrating an acute awareness of each other’s phrasing and dynamics. For example, in the second variation, Khouri’s clarinet emerges with a haunting melody that is beautifully complemented by Musson’s judiciously restrained bassoon, crafting a dialogue that is both intimate and expansive.
In the Bassoon Sonata, Hurlstone exploits the instrument’s lyrical potential, particularly in the first three movements. Musson’s command of the bassoon’s expressive capabilities is evident, especially in the Adagio, where he navigates the poignant melodies with a broad, singing tone. The final movement, marked Allegro, exhibits a more playful character, yet the transition into this exuberance is handled with finesse, allowing for a natural evolution from the lyrical to the lively. Emmerson’s piano accompaniment here is particularly noteworthy; his light touch allows the bassoon to shine without overshadowing its melodic lines.
The Four Characteristic Pieces, consisting of a Ballade, Croon Song, Intermezzo, and Scherzo, display Hurlstone’s flair for character and mood. Here, the interplay between clarinet and piano is especially engaging. The Croon Song, for instance, features a sensuous clarinet line that is both haunting and memorable, beautifully countered by the piano’s subtle harmonic shifts. Each piece is crafted with a keen sense of color and texture, enhancing the listener’s experience of the diverse emotional landscapes that Hurlstone was able to conjure within these shorter forms.
The recording quality is commendable, with a clarity that allows the individual timbres of each instrument to emerge distinctively, while also blending seamlessly in ensemble passages. The engineering captures the warmth of the instruments, making it easy for the listener to appreciate the nuances of Hurlstone’s writing. While the CD offers a modest 52 minutes of music, the richness of Hurlstone’s compositions warrants this exploration, providing an essential glimpse into a composer whose legacy deserves further attention.
Hurlstone’s works may not yet occupy the forefront of the classical repertoire, but this recording serves as a valuable contribution to the ongoing rediscovery of British composers from the early 20th century. The performances by Emmerson, Khouri, and Musson are not only technically proficient but also imbued with a palpable sense of discovery and respect for the music. This CD is strongly recommended for those interested in expanding their understanding of the period and for anyone who appreciates the delicate interplay of clarinet, bassoon, and piano in chamber music.
