Recording Review:
Composer: Sir Henry Walford Davies (1869-1942)
Works: Solemn Melody (cello and organ arr. Fisher), Jesu Dulcis Memoriae, Interlude in C, Fugue in B flat, Memorial Melody in C, Reverie for Organ and Two Voices – “O Jesu, King most Wonderful,” Chorale, Solemn Melody; Joseph Jongen – Prélude élégiaque, op. 47; Harold Darke – Chorale-Fantasia on Darwall’s 148th; Sir George Thalben-Ball – Elegy in B flat (arr. Fisher), Elegy; Sir Charles Hubert Hastings Parry – Chorale-Fantasia on the Old 100th
Performers: Roger Fisher (organ), Andrew Fuller (violoncello), Simon Stiggear (treble), Michael Wakeham (baritone)
Conductor: N/A
Label: DUTTON Epoch
Catalog Number: CDLX 7108
Duration: 79:29
Recording Date: 24-26 October 2000
Location: Rothwell organ at St. George’s Church, Headstone, Harrow
The reverberating echoes of Sir Henry Walford Davies’s contributions to British music endure, albeit with a selective resonance. A new release from Dutton Epoch, featuring an array of his works, offers a timely opportunity to reassess Davies’s legacy within the context of early twentieth-century British music, while shedding light on the less-familiar corners of his oeuvre.
The disc opens with the Solemn Melody, arranged for cello and organ by Roger Fisher. This piece, as many will know, is Davies’s most enduring work, yet the arrangement reveals a duality in its expression. Andrew Fuller’s cello performance is marked by a poignant lyricism that complements the organ’s rich sonorous backdrop. The slow tempo adopted by Fisher allows for a contemplative unfolding of harmonic layers, though it occasionally risks stagnation—a critique that recalls Vaughan Williams’s jest regarding Davies’s compositional posture. One feels the cello could benefit from a slightly brisker pace, to avoid an excess of reverence that may obscure the piece’s inherent pathos.
The subsequent Jesu Dulcis Memoriae serves as an artistic counterpoint to the Solemn Melody, showcasing Davies’s adeptness at crafting serene yet evocative melodies. Here, Fisher’s organ registration is particularly effective; the choice of stops enhances the ethereal quality of the piece, creating an atmosphere that is both solemn and uplifting.
The Interlude in C emerges as an unexpected delight, with its playful harmonic shifts reminiscent of Eric Coates’s light music. Fisher navigates the organ’s tonal palette with a deftness that breathes life into this otherwise lesser-known work. It is a charming interlude that invites listeners to reconsider Davies’s lighter compositions, which often languish in the shadow of his more solemn offerings.
The inclusion of pieces by Jongen, Darke, and Thalben-Ball expands the thematic fabric of the recording. Jongen’s Prélude élégiaque is a study in harmonic exploration, though it occasionally lacks a melodic anchor. Fisher, with his nuanced registrations, uncovers a spectrum of colors that enrich the listening experience, yet one may yearn for a stronger thematic coherence to propel the work forward.
Thalben-Ball’s Elegy is a poignant homage to Davies, intertwining thematic material from the Solemn Melody with its own lyrical reflections. The dual presentation—first in its original form for organ, then arranged for cello—reveals a tapestry of memory and mourning. This layering serves as a reminder of Davies’s influence and the continuing dialogue among composers of this era. The Elegy’s subtle quotations provide an engaging thread throughout the album, binding the program with a thematic unity that is both deliberate and satisfying.
From a technical standpoint, the recording quality is commendable. The acoustic of St. George’s Church, while not expansive, offers a warmth that complements the intimate nature of the works presented. Fisher’s careful attention to registration and balance ensures clarity in the contrapuntal writing, particularly in Parry’s Chorale-Fantasia on the Old 100th, where the intricate weaving of voice and instruments shines through with remarkable clarity.
In conclusion, this recording not only serves as a platform for Davies’s music but also as an exploration of the broader landscape of British sacred music. The imaginative programming and thematic connections drawn throughout the album elevate it beyond a mere collection of works. While it does not conclusively answer the question of Davies’s standing in the pantheon of classical music, it offers a compelling argument for the relevance of his contributions. The disc is a testament to the enduring charm of his music and a welcome addition to the canon of British composers, inviting both reflection and enjoyment.
