Pubs and the British choral tradition - The Gluepot Connection

"That bloody Gluepot" railed Sir Henry Wood, annoyed by musicians who were late for work because they tarried too long at The George, on the corner of Great Portland Street, adjacent to the old Queen's Hall and near the BBC in Langham Place. The George attracted a close-knit crowd of composers, musicians, poets, artists and writers. It's still around, and thriving, though the clientele has changed, so it's fitting that its past should be remembered in this new recording The Gluepot Connection from SOMM Recordings.  The CD features music from John Ireland, Alan Rawsthorne, Peter Warlock, Arnold Bax, Alan Bush, Elizabeth Lutyens, William Walton and E J Moeran, a few of the many who once thronged therein.  Andrew Griffiths conducts the a capella Londinium Chamber Choir.

The Full Heart is Peter Warlock's earliest choral work, dedicated to the memory of Carlo Gesualdo, an interesting choice of role model for the young Peter Heseltine who was but 21 when he sketched the piece.  The Gesualdo connection probably relates more to musical form, for the piece  employs finely parted chromatics, creating a rapturous work that seems to span centuries.  "O, my companions, Wind, Waters, Stars and Night". The text is by Robert Nicholls, invalided from the Somme, and later a socialite whose friends included Aldous Huxley.  Heseltine heard Frederick Delius's On Craig Ddu (1907) while still a student at Eton, and went on to champion the older composer.  The two pieces complement each other, though Warlock is more stylish.  Beautifully balanced singing from the Londinium Chamber Choir keeps texture clear and clean.  Warlock's The Full Heart is a stand out, on its own worth the price of the CD.

Warlock and Moeran were born in the same year, but had different backgrounds, Heseltine's influences more esoteric and international. He didn't like the John Ireland focus at the Royal College of Music and encouraged Moeran to develop further.  On this recording we hear Moeran's six Songs of Springtime (c. 1931) to poems by Shakespeare and his contemporaries.  Warlock amd Moeran were close, and in this set Warlock's influence is clear : more polyphonic inventiveness built on Renaissance models, yet distinctively of its own time.  These Warlock and Moeran settings shine out out in comparison with the more conventional John Ireland songs, The Hills and Twilight Night. The Hills, written to mark the Coronation in 1953, to a poem by James Kirkup, is chastely hymnal, while Twilight Night,

to a poem by Christina Rossetti, while Victorian, is rather more potent. Two people meet clapsed "as close as oak and ivy stand". They may never again meet "in the accustomed way" but that secret encounter is not erased.  Ireland's setting is straightforward, but the meaning of the text could hardly have been lost on the younger moderns, like Warlock and Moeran, in the more liberated 1920's.
Andrew Griffiths' erudite booklet notes give extensive detail on other habitués of the "gluepot", with so many cross-references that one could probably draw up a flowchart.  He quotes Michael Tippett on the "anti-Britten" clique at the George, ".... a cabal of composers who were trying to debunk Ben (Britten) or undermine his reputation.....they all had great chips on their shoulders and enetrtained absurd fantasies about a homosexual conspiracy in music led by Britten and Pears".  Bigots will always find excuses, hence the homophobia, but the real threat Britten posed was not his sexuality but the fact that his music didn't conform to the assumptions of what "British music" should be.  Frank Bridge opened his horizons to Europe, and WH Auden and Colin MacPhee to the world.  Britten was original, and successful, which created resentment.  Britten won the commission for the Coronation of 1953 with Gloriana, in which Queen Elizabeth I sees through sycophancy and status games. This didn't go down well with some, and for some Britten is still too "modern", though his influence has nurtured whole new generations of British composers and musicians.  Britten didn't do the Gluepot, but he is relevant in context.  He, too, drew inspiration from polyphony and Early Music, as any study of Gloriana will demonstrate.

The Gluepot "cabal" Tippett mentioned centred around Constance Lambert, his wife Isabel Nicholas, who later married Alan Rawsthorne, William Walton, and Elizabeth Lutyens and Alan Bush   Most of these are represented in this collection, apart from Lambert who didn't write a capella choral work.   Rawsthorne's Four Seasonal Songs (1956). The title is slightly misleading, since three of the songs refer to Spring. More multipart harmonics applied to 16th century texts !  In Lutyens' Verses of Love (1970) to a text by Ben Jonson, long lines elide, sounds shimmering.  Walton's Where does the Uttered Music Go ? (1946) was written for the dedication of the memorial window of Sir Henry Wood in the Musicians Chapel in St Sepulchre's where Wood, as a boy, learned to play the organ.  This disc also includes the premiere recordings of Alan Bush's Like Rivers Flowing (1957) with sinuous lines, and Lidice (1947) commemorating the massacre in Lidice by the Nazis.  The mood is hushed, the lines swirling : a secular Requiem. 

Another Gluepot regular was Arnold Bax. His I sing of a maiden (1923)  has charm, but is eclipsed by his Mater ora filium (1921) a substantial (11 minute) masterpiece based on William Byrd's five-part Mass, beefed up for as many as 16 parts, embellished by what Griffiths calls "prodigious extremes of range" (cloaked in) "luscious, late Romantic harmony in myriad different textures". The voices of the Londinium Chamber Choir rise to the task, their voices glowing "Amen, Amen". It's as if a stained glass window were bursting into song !

Carol or non-carol ? Warlock Bethlehem Down

A Christmas carol written by a practising druid to a text by an alcohol-inspired poet  Peter Warlock's Bethlehem Down (1927) is part of the modern choral repertoire proving that hymns  and carols don't have to be ancient to be good. I love this because the singing is so fresh, honest and direct.  Peter Warlock and Bruce Blunt were drinking companions, and broke. The Daily Telegraph was offering good money for a new Xmas carol. So Warlock and Blunt duly obliged. Since then, Bethlehem Down has been sung with pious devotion, sometimes missing the irony in the text and the circumstances of its genesis. My favourite performance is by the Choir of Somerville College, Oxford, conducted by David Crown. It's way above all else, because the singing is so fresh and energetic, far truer to the spirit of the composer and poet and, indeed, to the meaning of Christianity, burdened as it is by conventional piety. More details HERE.

"When He is King we will give Him the Kings' gifts,
Myrrh for its sweetness, and gold for a crown,
Beautiful robes," said the young girl to Joseph,
Fair with her firstborn on Bethlehem Down.

Bethlehem Down is full of the starlight,
Winds for the spices, and stars for the gold,
Mary for sleep, and for lullaby music
Songs of a shepherd by Bethlehem fold.

When He is King, they will clothe Him in gravesheets,
Myrrh for embalming, and wood for a crown,
He that lies now in the white arms of Mary
Sleeping so lightly on Bethlehem Down.

Here He has peace and a short while for dreaming,
Close huddled oxen to keep Him from cold,
Mary for love, and for lullaby music
Songs of a shepherd by Bethlehem fold."

(Bruce Blunt)

Terfel Keenlyside Wigmore Hall Opening Gala brilliant programme

The Wigmore Hall 2013/14 season started in exuberant style. Simon Keenlyside, Bryn Terfel and Malcolm Martineau devised a programme that was festive and fun. And, this being the Wigmore Hall, the recital was as erudite as it was popular   The two singers were enjoying themselves, teasing and challenging each other. Seldom do concerts, especially Gala Recitals, feel as natural as private performance.

The programme was extremely well chosen, for it showcased narrative song, a sub-genre of Lieder. It was ideally suited to the occasion, and to Terfel and Keenlyside, whose opera backgrounds mean they can sing stories with vivid élan.


Keenlyside wasn't well, and needed copious liquid succour - he finished a jug of water - but being a true trouper, he turned his difficulty to advantage in his performance. "Durst,Wassersheu, ungleich Geblüt!", he growled in Hugo Wolf's Zur Warnung. So we laughed with him, not at him, as he depicted the poet's Muse's "schmöden Bafel", the lines lurching as though through a drunken haze. That's the sign of a real professional, whose artistry overcomes all. 

Terfel sang Robert Schumann Belsazar op 57 (1840). More drunkenness! This time the mighty King of Babylon blasphemes and is brought down by Jehovah. Heine's version of Belshazzar's Feast is pithy, and the drama unfolds in the space of a few minutes. It's dramatic stuff. Terfel, being a natural stage animal, intones the text with slow deliberation, each syllable kept distinct. "Buchstaben von feuer, und Schreib, und schwand". You can almost see the mysterious hand writing slowly on the palace wall.  He sings the lines about the soothsayers with casual tenderness, so when he sings of Belsazar's murder, the syllables sound even more ominous. 

Terfel and Keenlyside foxed the audience, too, changing the programme and keeping us alert. Schumann's Die beiden Grenadier (op 49/1 1840) popped up unexpectedly, but it's a great song that fitted perfectly into this programme of Lieder as mini-drama. The ironic quote from the Marseillaise worked especially well after the Muse's wonky nightingale song in Zur Warnung. Die beiden Grenadier is witty but the humour is grim. Heine is satirizing fanatics who follow leaders unto death.

Also in place of the scheduled programme, Jacques Ibert's Quatre chansons de Don Quichotte (1932)  substituted for Poulenc's Chansons villageoises (1942). An inspired choice, which showed the singer's grasp of repertoire. Ibert's four Don Quixote songs are even more colourful than Ravel's  three songs Don Quichotte à Dulcinée  which were sung by Feodor Chaliapin in the 1932 G W Pabst film Don Quixote. Read more about the film here and about Chaliapin's hilarious performance. Ibert wrote the rest of the music for the film, so his songs area deliciously ironic. Terfel must have relished doing  a riposte to Chaliapin. Ibert's songs veer (or should I say "tilt" wildly from mock heroic to sentimental to mock elegaic. Ideal opportunities for Terfel to camp up the humour and characterizations. 

Both Terfel and Keenlyside live in Wales, though Terfel is of course a native. So Terfel sang Y Cymru (The Welshman) in what we must assume is perfect Welsh. The song, by Meirion Williams, sounds lovely in Welsh but it's just as well -- translated into English, the text is maudlin. My Welsh aunt, who didn't speak English til she was 15, used to say "hymns and alcohol" kept company.. But it's a good song and should be a star turn. Keenlyside decided that discretion was the better part of valour and declined to sing the third Williams song in Welsh. 

Instead, Keenlyside sang Peter Warlock, an Englishman who lived in Wales and was rather fond of beer and song. Keenlyside's voice filled out beautifully in Cradle Song (1927).  Warlock's My Own Country (1927), to a poem by Hilaire Belloc, is exquisite, one of his best and most mellifluous. Belloc was writing about an imaginary country, based vaguely on Sussex, but Keenlyside made it feel as if we all belonged there. 


Since this concert celebrated the beginning of a new season at the Wigmore Hall, the holidy mood continued with a selection of show tunes. Here, Keenlyside was in his element.  When he sang the Soliloquy ("My boy Bill")  from Rodgers and Hammerstein's Carousel, he could sit on a bar stool clutching a glass (of water) and be in perfect character. Keenlyside does lounge lizard well, so I liked his Ain't misbehaving though he sounds nothing like Fats Waller. He did a wry take on Fiddler on the Roof  too. His skills in the opera house stand him in good stead.  Keenlyside and Terfel duetted in Cole Porter's Night and Day, coyly switching the words. They'd like to spend their days and nights "being friends".

Terfel presented more party tricks. He sang songs from the repertoire of John Charles Thomas (1891-1960), an American of Welsh descent who sang opera, operetta and popular tunes. "He sang with Chaliapin", said Terfel. Another hidden connection in this remarkably erudite programme.  Terfel sang the comic The Green-Eyed Dragon (Wolseley Charles, published 1926 Boosey), first recorded in 1927 by an opera singer called  Reinald Werrenrath. Crossover is nothing new. Terfel also sang two rather better songs, Trees to the poem by Joyce Kilmer set by Oscar Rasbach in 1922, and a song about fox hunting where a foxy peasant out-foxes fox hunters and lets the fox escape. The peasant acts dumb when the fox hunters ask him where the fox has gone. Terfel's face takes on an expression so dumb that I can't think of a role he could use it in again. Wonderful song - I wish I could track it down, as it would make a wonderful, theatrical encore. But that's the beauty of the Wigmore Hall. You learn something new all the time. Addendum: a loyal reader just emailed me to identify the song. It's Tally-ho! by Franco Leoni (1864-1949) and was recorded by Arthur Reckless, an English baritone who later taught at GSMD. My intrepid reader has now come up with a link to the score of Tally-ho! (1919) so now we can all learn it.

Please see the full review in Opera Today.  

Below, John Charles Thomas singing Trees in a 1931 recording

Nash Ensemble Wigmore Hall, Warlock Britten Bax RVW

Now this is the kind of music writing I love to read! Claire Seymour, the Britten specialist, on the recent Nash Ensemble concert at the Wigmore Hal.  Read the full review here in Opera Today. 

"..............The desolate tones of Peter Warlock’s darkly prophetic The Curlew, for tenor, flute, cor anglais and string quartet, dominated the first half of the concert. Setting four poems by W.B. Yeats, Warlock evokes an almost unalleviated mood of despair; much of the vitality of the music derives from the composer’s uncannily apposite setting of the text, and tenor Mark Padmore’s eloquent, unmannered delivery of the rhythmically elaborate text did much to communicate the vividness and immediacy of the work. The opening instrumental mood-painting was moving and atmospheric: the plangent cor anglais (Gareth Hulse) announcing the eponymous bird’s plaintive lament, answered by the gentle repetitive murmuring of the flute’s peewit (Philippa Davies). The players adroitly established the bleak vista before the first, delayed entry of the voice, “O curlew, cry no more in the air”. Throughout the instrumental fabric was clearly articulated, both solos and ensemble presenting thematic wisps with delicacy and dolefulness - a perfect illustrative backdrop for the melancholic texts. The string players wove an intricate web of tremolo and sul ponticello traceries, complementing the woodwind’s mournful diminuendos and echoes. "

"Padmore shaped the vocal lines intelligently, although perhaps he did not fully reveal the emotional disturbance at the heart of the work, for the text and score demand that we be truly discomforted and perturbed. But there was affecting contrast and drama. With the opening of final stanza of ‘The Withering of the Boughs’, the tenor evoked tentative intimations of hope and new life, warmed by a string rocking motif, which was then immediately and unequivocally destroyed by the voice’s exposed quasi parlando repetition: “The boughs have withered because I have told them my dreams.” The composer instructs the singer to use a “low tone - almost a whisper” and Padmore executed this challenging line with consummate control.................."

Nash Ensemble Wigmore Hall Warlock The Curlew

The Nash Ensemble are a treasure, one of the finest chamber ensembles in this country. Their flexibility allows them to explore repertoire in many forms. With their unusually sensitive, intelligent choice of programmes, they revitalize the way we hear things.  Perhaps the Irish connections in this Wigmore Hall recital inspired the strange mysticism  that made this programme so very special.

Sir Arnold Bax identified passionately with a magical vision of Ireland. The opening chords of the oboe in Bax's Oboe Quintet (1922)  suggest a more primeval version of the Shepherd's flute in Tristan und Isolde. Is Bax referring to the irisch Kind, and to Isolde's tragic past? Gareth Hulse played with assertive, though melancholy grace. This is an inherently dramatic piece,the oboe operating as a voice, calling out into the distance, answering itself with sensual reverie, the high passages tearing at one's emotions.  The plaintive central movement, the lento progressivo, might suggest half-remembered folk music, but it's too sophisticated to be a mere quote.The Nash Ensemble, who make this piece something of a speciality, created the jig finale with wild, jaz- like energy. Bax knew Ireland too well to over-sentimentalize, particularly in the wake of the Easter Rising.  His archaic Irish dream lives in the period in which it was written.

In contrast, Elgar's early encores for violin, Salut d'amour (1889), Chanson de matin and Chanson de nuit sounded genteel though played with poise (Marianne Thorsen) . If Bax suggests open seas and open skies,  Elgar here suggests Victorian propriety. We appreciate both when heard together. Both composers set the context from which Peter Warlock's The Curlew was to arise.

Warlock's The Curlew deserves to be recognised as one of the masterpieces of British music., and indeed of modern European music as a whole. It's shockingly prophetic. Warlock started writing it in 1921, when Benjamin Britten was 8 years old, still at home with his mother, a detail which is poignantly relevant to Britten's situation. Although I don't know if Warlock's score is in Britten's library, it would seem that he almost certainly knew the piece, as it's startling how much it presages Britten's later work. The Curlew contains the long, keening lines, the tonal ambiguity, the hovering between old forms and new, and above all the sense of uncompromising fatality we hear so often in Britten. The utter desolation in Britten's Curlew River might have its roots in The Curlew. Even Peter Grimes might be distant kin  to the doomed soul in Warlock.

The Curlew begins with plaintive cor anglais  reminiscent of the oboe in Bax's Oboe Quintet. Gareth Hulse was kept busy. The mood deepens with viola and cello (Lawrence Poweer, Paul Watkins), evoking the idea of endless sky and sullen earth, Warlock responds perceptively to W B Yeats by establishing the oppressive atmosphere long before the entry of the voice (Mark Padmore). "Oh, Curlew, Cry no more," Padmore sings "....there is enough evil in the crying of the wind". The Curlew isn't song in the conventional sense but a tone poem with voice. Notice too the drooping diminuendoes, dragging down the creature of flight, and the back and forth chords the cello defines.  These are significant for they suggest a bleak panorama.

Yet the landscape here is nternal, not external. Three times Warlock repeats Yeats's line "No boughs have withered because of the wintry wind: the boughs have withered because I have told them my dreams". In the third strophe of the third song, Warlock writes exotic lyricism: one can also hear the call of some distant bird. But it's an illusion. The phrase repeats for the last time in hollow monotone, declaimed in half whisper, rather than song. The voice is silenced while the instruments speak in hushed murmurs. Guided by the cor anglais, the voice returns once more for the final, minimally accompanied song before it breaks off into sudden silence.

Warlock's The Curlew is such a disorienting piece that it is not comfortable to listen to in the communal environment of a recital hall. Alone, in the darkness and in private, you can give yourself  wholly to the piece and experience its searing impact. The Nash Ensemble have had The Curlew in their repertoire for years and are  perhaps its finest interpreters.  Padmore sings clearly, but doesn't have the surreal, poisoned intensity that John Mark Ainsley and others bring. The Curlew is such a queer bird that I don't think its strangeness can be fully realized without a disturbing emotional edge to the singing.

After The Curlew, I'm usually too ravaged to listen to anything, but in the real world, concert-goers need something relaxing to send them home.  Since the Nash Emsemble can call on Craig Ogden, they can present Benjamin Britten's Songs from the Chinese op 58 (1957). for voice and guitar. Perhaps Britten chose guitar because it vaguely replicates Chinese plucked instruments like the pipa or zheng, but experienced performers are few and far between in the west. The guitar adds an oddly Spanish timbre which for me contradicts the "Chinese" nature of the poetry, even in the westernized translation by Arthur Waley.  Padmore was more in his element here. In The Old Lute, the voice part is written to suggest the sound of a lute, whose sound is "still cold and clear", Padmore stretching the o-o-o-o in the vowels so they perceptibly chill. Similarly, Britten writes a turbulent rolling rhythm into The Autumn Wind which Padmore sings with elan.

The concert ended with another Nash Ensemble speciality, Ralph Vaughan Williams String Quartet in C  minor (1898). This fell into such obscurity that it was not heard in public until the Nash performed it at the Wigmore Hall nearly 100 years later. It's pleasant if undemanding. I was reminded of the line in The Old Lute, "How did it come to be neglected so ? Because of the Ch'iang flute and the zither of Ch'in"


photo of full Nash Ensemble : Hanya Chlala ArenaPAL