Herbert Howells(1892-1983): a Catalogue of the Orchestral and Choral Music

[Dundonnell]

It should be noted that Howells was in the habit of resusing material from certain of his compositions in later works and that a number of pieces written originally for chorus and organ were subsequently orchestrated. Some of the latter have been recorded on cd in their original incarnation but I have omitted such recordings.

As ever I would welcome corrections or additions

HERBERT HOWELLS: A CATALOGUE OF THE ORCHESTRAL AND CHORAL MUSIC

1907:   "When Cats Run Home" for chorus and orchestra: 2 minutes
1913:   Piano Concerto No.1, op.4: 39 minutes    +  (Chandos cd)
1914:   Suite "The B's" for orchestra, op.13: 32 minutes     + (Chandos cd)
             "The Lord shall be my help" for voices and strings
1915:   Three Dances for Violin and Orchestra, op.7: 14 minutes   + (Hyperion and Chandos cds)
1917:   Suite for String Orchestra, op.16(first movement reused in 1938 Concerto for String Orchestra and middle movement as-
                    Elegy for Viola and, String Quartet and String Orchestra: 10 minutes      +  (Lyrita, ASV and Chandos cds)
             Serenade for Four Violins and String Orchestra(arranged from Suite, op.16): 4 minutes    + (Chandos cd)
1917-20: Two Pieces for Small Orchestra: "Puck's Minuet": 5 minutes and "Merry-Eye", op.20: 8 minutes   +  ("Merry-Eye", Lyrita cd)
1917:   "Sir Patrick Spens" for soprano, tenor, baritone, chorus and orchestra, op.23:19 minutes  + (Naxos cd)
1922:   "Sine Nomine: A Phantasy" for soprano, tenor, chorus and orchestra, op.37: 14 minutes   +  (Classico cd)
             Procession for orchestra: 4 minutes   +  (Lyrita and Chandos cds)
1923:   Pastoral Rhapsody for orchestra: 12 minutes    +  (Chandos cd)
1925:   Piano Concerto No.2, op.39: 27 minutes    + (Hyperion and Chandos cds)
             "Paradise Rondel" for orchestra: 9 minutes    + (Chandos cd)
1926:   "The Trial of Jesus" for voices, piano and strings
1928:   "In Green Ways" for soprano and orchestra: 18 minutes    + (Chandos cd)
1933:   "A Kent Yeoman's Wooing Song" for soprano, baritone, chorus and orchestra: 18 minutes    +  (Chandos cd)
              Ballet "Penguinski": 4 minutes   +  (Chandos cd)
1936-37: Fantasia for Cello and Orchestra: 17 minutes    + (Chandos cd)
1936-38:"Hymnus Paradisi" for soprano, tenor, chorus and orchestra: 46 minutes     + (EMI, Hyperion, Chandos and Naxos cds)
1937:   "King's Herald" for orchestra and organ: 4 minutes    + (Chandos cd)
1938:   Concerto for String Orchestra: 29 minutes   +  (EMI, Hyperion and Chandos cds)
1940:   Folk Tune Set for small orchestra
1942:   Suite for String Orchestra: 20 minutes   + (Chandos cd)
1943:   Fanfare for Schools for brass, timpani and strings
1944:   Te Deum(Collegium Regale) for chorus and orchestra: 8 minutes
1949:   Suite "Music for a Prince": Two Pieces for orchestra-"Corydon's Dance" and "Scherzo in Arden"(two movements from 1914 Suite "The B's":
                            12 minutes     + (Lyrita cd)
1951:   Cello Concerto (unfinished; slow movement orchestrated by Christopher Palmer as Threnody for Cello and Orchestra   + (Chandos cd))
             "A Maid Peerless" for women's voices and small orchestra: 7 minutes
1952:   "Behold, O God, Our Defender" for chorus and orchestra: 3 minutes
1953-54:Missa Sabrinensis for soprano, contralto, tenor, baritone, chorus and orchestra: 76 minutes   + (Chandos cd)
1954:   "The House of the Mind" for chorus, organ and strings: 7 minutes
1956:    An English Mass for chorus, organ, strings, flute, oboe, timpani and harp: 33 minutes   +  (Hyperion cd)
1959-65:Stabat Mater for tenor, chorus and orchestra: 51 minutes   + (Chandos cd)
1961:   Hymn to St. Cecilia for chorus and orchestra
1970:  "Michael: A Fanfare Setting" for chorus and orchestra (unfinished): 8 minutes
1977:   Fanfare for orchestra: 2 minutes

[petershott@btinternet.com]

Penultimate? But I am much grieved, for like the proverbial spoilt child, I want the party to go on for ever.

However I recognise your energies are not inexhaustible. Each of the 57 catalogues that are surely now a proud and important feature of the forum must have required copious amounts of midnight oil. I'm hugely grateful to you for all the work involved, and I'm sure all other members are equally appreciative.

What motivates all of us to look at this forum each day (and, in my case, often several times a day)? Given what unites us all is our love of music and its importance in a good life, the answer is surely the perpetual hope of finding out about or discovering something that we might not otherwise have known about. And especially about those composers who lie off the beaten track, or worse, are in danger of being entirely forgotten or covered up by prevailing fads and fashions. Many of your 57 catalogues deal with composers with whose work I assumed a not unreasonable knowledge. Working through a catalogue carefully very often shows that such an assumption is either far too complacent or downright lazy! Some other catalogues have dealt with people who were, for me at least, previously just a mere name. I regard all these catalogues as indispensable apparatus for folk determined to see unsung composers becoming sung ones.

I'm now wondering who will form the subject of Catalogue 58? I have quite a few on the short list - which indicates a need for yet more catalogues! But Howells is a wonderful composer to come in at 57. I suppose he is fairly well known within the tradition of 20th century English church music. But then that reputation tends to cover up the considerable amount of other music he wrote - and some lovely, heartfelt and superbly crafted chamber music in particular. These concert works are not as well known as they should be. I'd also be very interested to know from those many members who live outside Britain to what extent Howells is known and performed in their countries. Is, for example, the wondrously moving Hymnus Paradisi or the magnificent Missa Sabrinensis ever heard in, say, Norway, Poland, or Australia? I have little idea of the answers to such questions. But if they converge, alas, on a constant 'not at all' then these Dundonnell catalogues surely have a small, but important, role in the promulgation of an increased awareness of these 57 composers who form a precious part of our lives.

One final thought. Given that Howells spent nearly all of his professional life at the RCM, I wonder how many now well regarded figures passed through his hands and gained from his support and encouragement? A considerable number surely - and that suggests that Howells might well be a near constant thread that runs throughout 20th century English music?

[britishcomposer]

I recorded a broadcast of a concert given in 2003 with forces of the Mitteldeutsche Rundfunk conducted by Howard Arman in Howells's Hymnus Paradisi. (Arman has been quite instrumental in promoting British choral music in Germany.) This is - as far as I remember - the only broadcast of a work by Howells performed by German musicians since the 90s. Of course, I didn't check all radio stations regularly so maybe there have been more. Moreover this doesn't mean that Howells hasn't been performed in Germany but I have never met his name on concert programmes, apart perhaps in a rare choral or organ recital. To my mind his choral and organ works show a stylistic resemblance to Durufle, who is quite popular with German ensembles. Therefore I cannot understand why Howells isn't more popular in Germany.

I am very fond of his early orchestral and chamber music. His songs are masterful, too, especially the orchestral cycle 'In Green Ways'. It's a shame that this, like many of his orchestral works, hasn't been published. A few years ago I tried to interest a publisher in 'In Green Ways' offering to provide an orchestral score with my notation software for free. I got no reaction.

[Dundonnell]

I am touched by your immensely generous comments, Peter The intention behind producing these catalogues was to try to give those members who might be interested a reference resource which could be of ongoing usefulness and interest. If I have achieved this aim then all the hard work is of course justified

I had in fact intended to round off the series at 60 British composers but Nos. 59 and 60 would be Joseph Holbrooke and (my fellow Scot) Erik Chisholm. However Holbrooke's worklist is so chaotic that I shall need assistance to complete the catalogue. Similarly with Chisholm; I have a worklist, derived from the Scottish Music Centre catalogue, but very few dates for the compositions. I shall be in contact with the Erik Chisholm Trust to see if a proper catalogue can be achieved.

If I have however missed a composer whom anyone thinks should have been included then I am, of course, happy to remedy the omission

No.58 Well...very much a Romantic British Composer with a massive body of colourful, rich music.  That should give you enough of a clue

I am also very much aware of three further points.

Firstly, the British composers on whom I have focussed are essentially 20th Century composers. I would hope-in the future-to devote similar efforts to a group of composers active in the 19th Century: people like Stanford, Parry, German, Sullivan, Cowen, Mackenzie, MacCunn, Wallace.

Secondly, members who have no great interest in British Music may well feel that the Brits have had too much attention   Again, I would hope that, perhaps in a few weeks or so, I might turn to looking at some American composers.

And thirdly, Mark has suggested that there should be some efficient way of storing the catalogues to allow easy access, rather than having them scattered throughout (and possibly overpowering) the Composers Section. That would make perfect sense

[Christo]

And thirdly, Mark has suggested that there should be some efficient way of storing the catalogues to allow easy access, rather than having them scattered throughout (and possibly overpowering) the Composers Section. That would make perfect sense

Fully seconded. And many thanks indeed for the immense undertaking - from a grateful user! 

[albion]

And thirdly, Mark has suggested that there should be some efficient way of storing the catalogues to allow easy access, rather than having them scattered throughout (and possibly overpowering) the Composers Section. That would make perfect sense

Fully seconded. And many thanks indeed for the immense undertaking - from a grateful user! 

Ditto, with bells on ...



... a great resource for anyone wanting to explore all this wonderful music.

[Peter1953]

No.58 Well...very much a Romantic British Composer with a massive body of colourful, rich music.  That should give you enough of a clue

No. 58... Lionel Sainsbury perhaps, or... Haydn Wood... ? Or not massive enough...? Oh, those VCs. Just gorgeous!

[JimL]

And thirdly, Mark has suggested that there should be some efficient way of storing the catalogues to allow easy access, rather than having them scattered throughout (and possibly overpowering) the Composers Section. That would make perfect sense

Fully seconded. And many thanks indeed for the immense undertaking - from a grateful user! 

Ditto, with bells on ...



... a great resource for anyone wanting to explore all this wonderful music.

Perhaps sequestering them in another division, to which others may contribute chamber, operatic and keyboard music catalogs may be a possible solution.

[albion]

No.58 Well...very much a Romantic British Composer with a massive body of colourful, rich music.  That should give you enough of a clue

No. 58... Lionel Sainsbury perhaps, or... Haydn Wood... ? Or not massive enough...? Oh, those VCs. Just gorgeous!

If pressed, I'd probably consult my book of verses underneath the bough ...

[Dundonnell]

Again, many thanks for the comments above

Regarding composers taught by Howells, I know of at least two-Gordon Jacob(who was actually only two years younger than Howells but had been in the Army during the First World Ward and had ended up as a prisoner of war) and Robert Simpson(who took private lessons from Howells). Some sources say that Arthur Benjamin was a pupil of Howells but this seems highly improbable. Howells and Benjamin were contemporaries as students and when Howells started teaching at the RCM in 1920 Benjamin had returned to Australia. When Benjamin returned it was as a member of staff at the RCM.  I am sure though that there must have been others.

[petershott@btinternet.com]

Yes, Imogen Holst for one.

[Christo]

Mentioned as a "pupil of Herbert Howells" I found - in the Internet - the names of: Paul Spicer, Richard Drakeford, Ian Stewart, Alan Bullard, Willam Reed, [Mr.] Nethsingha, Sam Akpabot, Derek Bourgeois, Edwin Roxburgh, Berry Ferguson, Duncan Faulkner, Arthur Oldham, and - possibly, couldn't verify yet - Nicola LeFanu. 

[Dundonnell]

Apart from Derek Bourgeois, I have never heard of any of these folk

[petershott@btinternet.com]

Nicola LeFanu recently retired from York where she held one of the Chairs of Music. There must be over 100 compositions, and I've enjoyed all those that I've been lucky enough to hear. (There are several works for strings on Naxos). Music runs in the family: she is the daughter of the (in my view) very distinguished Elisabeth Maconchy, and is married to the composer David Lumsdaine.

Edwin Roxburgh is also a fairly prominent composer, held in high regard by those seen issuing from record shops clutching the latest NMC record in their hands. I've tried two of his works - Saturn (for orchestra) and a Clarinet Concerto. I found them just a bit too much, hum, cerebral.

Paul Spicer is a choral conductor, organist, composer, and academic. He conducts the Finzi Singers (many recordings on Chandos), and is also the author of a widely admired biography of Howells himself. (It won, I recall, various literary prizes when it was published - towards the end of the 1990s?) He has written several large scale choral works - the Easter Oratorio made quite a stir when performed at the Lichfield Festival, but I had moved away from the area by then and didn't hear it.

Arthur Oldham's name rings a bell as a chorus master - but I haven't checked.

[albion]

Arthur Oldham's name rings a bell as a chorus master - but I haven't checked.

Latest entry in Grove -

Oldham, Arthur (William)
(b London, 6 Sept 1926; d Villejuif, 4 May 2003). English choirmaster and composer. He studied composition with Howells at the RCM (1943–5) and privately with Britten. The first of his works to attract public attention was the ballet Mr Punch, given by Ballet Rambert at Sadler's Wells. After that time he worked as a choirmaster with the Scottish (later Edinburgh) Festival Chorus (from 1965), the Scottish Opera Chorus and the LSO Chorus (1969–76). Also in 1976 he was responsible for the formation, in Paris, of the choir of the Orchestre de Paris, and later the chorus of the Concertgebouw Orchestra. An early compositional career under the shadow of Britten (inevitably so, when both were concerned to write choral music of immediate appeal) was interrupted in 1952 by a nervous breakdown. He recovered and began to compose again towards the end of the 1950s, at about the time he entered the Catholic Church. He was made an OBE in 1989. Much of his music is intended for children. The harmony is largely diatonic, its vitality deriving from an original use of dissonance and unexpected key juxtapositions.

Works (selective list)
Orch: Variations on a Carol Tune, chbr orch, 1949; Divertimento, str, 1951; Circus Parade [suite from ballet Circus Canteen], 1952; The Apotheosis of Lucius, sym. study, 1952; Sinfonietta, wind band, 1974

Stage: Mr Punch (ballet), 1946; The Sailor's Return (ballet), 1947: Circus Canteen (ballet), 1951; ed., Love in a Village (op), 1952; Bonne bouche (ballet), 1952; The Land of Green Ginger (op), 1965

Choral: My Truest Treasure, SATB, 1951; 4 Occasional Anthems, 1952; Missa in honorem Santi Thomae Mori, SATB, 1958; Missa Sanctae Mariae Virginis, congregation, chorus, org, 1960; 2 Carols, SA, org, 1961; Laudes creaturanum (cant.), S, children's chorus, chorus, org, str, 1961; Hymns for the Amusement of Children, S, chorus, org/chbr orch, 1962; Remember, O thou Man, SSATBB, 1962; Blind Audley's Carol, SSATBB, 1965; Quem vidistis, STB, 1966; Sacerdos et pontifex, SATB, org, 1966; Now is the Time for Mirth and Play (C. Smart), unison vv, 1967; O Queen of Virtues, SA, 1967; Psalms in Time of War, Bar, chorus, orch, 1976; Epithalamium (Smart), chorus, org, 1989; Le testament de Villon, 3 solo vv, chbr choir, chorus, orch, 1997

Vocal: 5 Chinese Lyrics, 1v, pf, 1949; Summer's Lease (W. Shakespeare), T, str orch, 1950; The Commandment of Love, 1v, pf, 1951; Cantique de cantiques, 1v, fl, 1980; 5 Noëls, 1v, fl, 1997; 2 villancicos de Santa Teresa de Avila, S, Mez, pf

Chbr: Sonata, vn, pf, 1950

Arrs.: 5 Burns Songs, chorus, 1958; 6 Scots Songs of the XVIII Century, 1v, pf, 1959; 4 Noëls, SSA, 1963