British Music

[Peter1953]

No André Rieu here!

We lovers of serious music may occasionally laugh at André Rieu, but we must realize that he has promoted – in his own way – classical music worldwide already for many, many years.

[albion]

Indeed, I rail not at Rieu (although some of his 'special arrangements' do scant justice and occasionally no little injury to the originals) but at the broadcasting of commercial puffery surreptitiously masquerading as honest populism. 

[DaveF]

Many thanks to all responsible for posting the Sullvan Te Deum.  I was a singer on that recording, an extra drafted in from Ron Corp's BBC Club Choir to augment the London Choral Society.  I remember thinking at the time that it was probably the worst piece of music ever written, and time hasn't removed it from that peak of my estimation.  The whole piece cries out for quotation, but the bit (almost exactly 30' in) where a military band makes an entry playing a perky little tune which, amazingly, fits exactly against the hymn-tune St Anne which has been pressed into service along the way, ranks among the most hilarious.  The piece was written to celebrate the Prince of Wales's recovery from his appendix op, and the story goes that when he heard it he began to wonder whether recovery had been the wisest option - or perhaps I just made that up.  Anyway, listening again reminded me what fun we all had recording it.  Haven't laughed so much for a long time.

DF

[albion]

HRH was probably pretty relieved to recover from the typhoid that had killed his father eleven years previously - a relief also felt by the general public in an age which cared about such things.

Sullivan's was a predictably populist response and his contribution to the festivities was very warmly received:

Of this new work by our young countryman we are glad to be able to speak in terms of unqualified praise. It is not only, in our opinion, the most finished composition for which we are indebted to his pen, but an honour to English art. It is written for soprano solo, chorus, orchestra, organ, and military band. The military band is not an absolute necessity, but may be employed ad libitum; its effect, however, as introduced in the last chorus, is so bright and uncommon that it would be a pity to present the work without it.

The "Te Deum" comprises seven numbers. The first begins with a slow and majestic prelude for orchestra, in which a fragment of Dr. Croft's church tune known as "St Ann's," bearing a strong affinity to the theme of one of the most famous of J. S. Bach's organ fugues, is introduced. The chorus (C major) is in the same strain, and the words, "All the earth doth worship Thee," are set to a short "fugato." At the repetition of "We praise Thee," &c., full choral harmony is resumed; and "To Thee all angels cry aloud" becomes the text for a well-developed fugue, which, but for certain episodical passages, might almost be called Handelian in style.

Still better is the second number – "To Thee Cherubim and Seraphim continually do cry" (E flat) – for soprano solo, with chorus. The setting of the words, "Holy, Holy, Holy Lord God of Sabaoth," in which the chorus is alternately accompanied by orchestra and left alone, is singularly impressive, and there is a Rossinian touch in the charming triplet melody allotted to the solo (sung to perfection by Mdlle. Titiens).

The interest of the work increases as it goes on. The third number – a grand chorus – "The glorious company of the Apostles praise Thee" – is one of the most striking and original in the "Te Deum." In this is interpolated the first Gregorian tone (G), harmonized with great ingenuity, especially in one place, where, the tune being preserved intact, the harmony takes it into a different key. The words, "Thou art the King of Glory," are set to what musicians technically term a canon, "four in one," and this, with a characteristic accompaniment for the orchestra, is developed so skilfully as to justify us, without entering into further detail, in proclaiming Mr. Sullivan a thorough master of contrapuntal device.

The fourth number is an air for soprano (B minor), "When Thou tookest on Thee to deliver man" – a strain of continuous melody as beautiful as it is pathetic. This was exquisitely sung by Mdlle. Titiens, and accompanied by the orchestra with a delicacy beyond praise.

No. 5, chorus, "We believe that Thou shalt come to be our Judge" (B major), is less original, if not less meritorious in a purely artistic sense, than the pieces which precede and follow it. What with the style of its melody, and its triplet orchestral accompaniment, we are too frequently reminded of Mendelssohn, and especially of certain passages in St. Paul. But, in other respects there is no room for criticism.

No. 6, soprano solo, with chorus (G) – "O Lord, save Thy people" – has much worthy notice, more, in fact, than we can find time to dwell upon. The second part, "Day by day we magnify Thee," begins with a very tuneful choral quartet, the theme led off by the tenors, answered by the basses and echoed by the sopranos, though not further developed, as might have been anticipated, in the strict form of a "round" or "canon." In this number we have a fresh reference to the Gregorian tone, already mentioned, where the words, "O Lord, save Thy people," occur – than which nothing could be more appropriate.

No.7 – "Vouchsafe, O Lord" (C) – the final chorus, and concluding portion of the "Te Deum," is a worthy climax. In this Mr. Sullivan has put forth all his strength, and with eminent success. The orchestral prelude is identical with that with which the work commences, and, the key being also identical, we have that homogeneity sometimes absent even from compositions far more ambitious in design and character. Here, again, the stately tune of Dr. Croft ("St. Ann's") is used with striking effect, both in the opening and elsewhere. The words, "O Lord, let Thy mercy lighten upon us," are wedded to a masterly fugue, from which, though here and there slightly reminded of St. Paul, we cannot withhold admiration.

The introduction of the military band, near the close, the reappearance of the "St. Ann's" tune, now made the theme of the "Domine salvam fac Reginam" ("O Lord save the Queen") for voices in unison, and the ultimate working up merit all eulogy. It is agreeable to have to describe in such terms the work of a native musician composed for so important an occasion.  (The Times, 2nd May, 1872)

For anybody wishing to find out more about this composition, there is an interesting commentary here - http://www.sullivan-forschung.de/html/f1-analysen-teDeum.html

In spite of the confident (though not spectacular) fugal writing, the use of plainsong melody in the third movement, and the clever juxtaposition of sacred and secular in the last, I don't really think that Sullivan intended the work to be listened to as anything other than what it was - a fun pièce d'occasion.   

[albion]

Greetings, pop pickers - this week we've got some toe-tapping new entries from Iain Hamilton and Gordon Crosse and rocketing up the charts is new talent Malcolm Arnold Bax, but York Bowen's still the best thing since knicker elastic ...

1. York Bowen - Symphony No.3
2. Iain Hamilton - Piano Concerto No.2
3. Iain Hamilton - Piano Concerto No.1
4. Arnold Bax - Northern Ballad No.1
5. Gordon Crosse - Symphony No.1
6. Malcolm Arnold - Symphony No.1
7. Arnold Bax - Northern Ballad No.2
8. Bernard van Dieren - Chinese Symphony
9. Gordon Jacob - Piano Concerto No.2
10. Malcolm Arnold - Symphony No.2

FAQs

Is the BMB Specialist Classical Chart linked in any way to commercial sponsorship?

The BMB Specialist Classical Chart is brought to you in association with the bargain wine section at Tesco.

How accurate is your statistical data?

Statistics are 100% accurate based on our ability to focus on the computer screen - see above.

[DaveF]

Re the Sullivan Te Deum - yes, I was confusing the Prince of Wales's illnesses - the appendix operation came much later in his life, when he was no longer Prince of Wales but King Edward, and after Sullivan's death.

Interesting article, thank you, from the Deutsche Sullivan Gesellschaft, although I find the parallel that it tries to draw with the use of "popular" elements in the finale of Beethoven 9 a bit suspect.  I would agree with the footnote that one lays oneself open to a charge of hypocrisy if one accepts Beethoven's decision to incorporate such elements (the Turkish march) but not Sullivan's (the military band) - yes, I wouldn't want to restrict any composer's freedom to make decisions, but perhaps how they're implemented counts for something as well.  I'm not sure that Sullivan's merry tune quite scales the heights of Beethoven's cosmic rejoicing (or, to take another example, the lah-lahing episode in the finale of the Gothic).

I see as well that Sullivan's Boer War Te Deum is available on a commercial recording, conducted once again by Ron Corp.  I must have a listen.

DF

[kolaboy]

Just a word of thanks for the music. The suite by Edward German (The Seasons) was an especially lovely discovery...

[eschiss1]

ok, now I am a little confused- I was already aware of the newish recording of the Boer War Te Deum (which received two interesting Fanfare magazine reviews at the time, not atypically, I think; and there is also  Wikipedia article about the work)... is this indeed an earlier 1870s work or another recording of the later one?
Eric

[albion]

ok, now I am a little confused

There are three settings of the Te Deum by Arthur Sullivan:

Te Deum (D major) for choir and organ (1866), recorded on Priory PRCD 691



Festival Te Deum (1872), BBC broadcast recording in BMB

'Boer War' Te Deum (1900), recorded on Hyperion CDA 67423



The discussion above relates to the 1872 setting, but DaveF also referred in passing to the Hyperion release of the 'Boer War' Te Deum.

[Mark Thomas]

The Boer War Te Deum is amongst Sullivan's last works and it's well worth searching out. IIRC it's only about a quarter of an hour long, but it has some lovely choral writing, is - for Sullivan - quite deeply felt and restrained, and makes very effective use of his hymn tune "Onward Christian Soldiers". One of my favourite Sullivan works.

[albion]

Mark, you do recall correctly - although those who find Sullivan's treatment of St Anne dubious are not likely to be impressed by St Gertrude! 

[Mark Thomas]

Oh, I love a good strong tune! Actually, again IIRC, the tune itself isn't given whole to any voice or instrument but just  emerges from the musical texture. Hardly a unique device, but an effective one nonetheless.

[eschiss1]

hrm. would that be related (even very, very, very vaguely ) to hocket or pointillism?

[Lionel Harrsion]

hrm. would that be related (even very, very, very vaguely ) to hocket or pointillism?

Hocket, possibly (if only by accident); pointillism, I very much doubt it!

[Dylan]

The HRH-inspired flurry of interest in Parry has reminded me that a few years ago there seemed to be several broadcasts of Parry's The Chivalry of The Sea. For one reason or another I managed  not to record any of them. I know there's now a commercial recording, but if anyone has one of those pioneering broadcasts, commentators write highly of the piece and I'd be very interested to hear it...?