The Curious Music of Howard Ferguson

 

A cantata, a vocal diptych, and two orchestral works.

There is a wonderful photograph of Richard Hickox with Howard Ferguson on the back of the liner notes, seven years before the composer's death. I am glad for their collaboration, for this sort of rare British music is right up Hickox's alley.

There is quite a variety here too, as mentioned at the top, giving the listener plenty to explore from the composer.

The Overture for an Occasion contains fanfares and such for a royal occasion, but his music moves more in the realm of Moeran. Not completely straightforward, but brass-laden, with rhythmic revelry nonetheless.

I am reminded of Vaughan Williams with the rather bland title of Partita, but it intimates past musical traditions married with forward-looking composing. The opening movement, with its heavily dotted rhythms, could be a Neo-Baroque overture, but afterwards Ferguson bursts into a faster section with uneven, mixed meters, a curious mix continued in the 3rd movement.

It is the final movement which dispels the relative gloom of the piece. My wife made the remark of a Tim Burton-esque, witch's cauldron-type Scherzo set opposite a John Wayne western cinema motif. I use the term curious for Ferguson's music, and here is the primary example, especially following the three previous, rather serious, grim, movements.

What makes Ferguson's Two Ballads for baritone interesting is Brian Rayner Cook's adoption of Irish affections. He attempts to give the text regional Irish vowel flavors and throaty sounds, a characterful, playful portrayal quite unusual for the baritone. The sparkle of this music is a nice balm from the serious Partita.

As with his Amore Langueo cantata, I am again reminded of George Dyson in Ferguson's Dream of the Rood. Once more, there is an odd metaphorical religious perspective, and as the composer's last composition, works more effectively than the earlier I Languish for Love.

It is an interesting bit of storytelling. While the opening and closing bookends explain the titular dream, opined by solo soprano Anne Dawson, it is the main story line which remains curious. The author personifies a tree which eventually becomes the cross upon which Jesus is crucified.

The listener is witness to the horrific journey of the digging up of the tree, its being crafted into a crucifix, and eventually being wounded with nails at the Crucifixion. Yet, there is a sense of pride in the sacrifice the tree makes in supporting Jesus towards his ultimate death and Resurrection.

While Amore Langueo was a little too lyrical and meandering, there is more variety in The Dream of the Rood, although its 30-minute runtime without a break is shared among the two cantatas, for better or worse. For those who are averse to singing, Ferguson ends each of the seven sections with a lengthy orchestral-only mood setting.

Once again, the advocacy of Richard Hickox, here with the LSO and Chorus, is cherishable. No one else is recording Ferguson's cantatas, and his concertos and orchestral works usually are played alongside a mix of other British composers. Not so here, where Ferguson is fully on display, and in warm, Chandos sound.

 

Listen on YouTube

 

Work
Overture for an Occasion (8.20)
Partita (24.52)
Two Ballads (8.34)
Dream of the Rood (32.59)

Soloists
Anne Dawson, soprano
Brian Rayner Cook, baritone

Ensembles
London Symphony Chorus
London Symphony Orchestra
Richard Hickox, conductor

Label: Chandos
Year: 1992
Timing: 75.13

 

 

 

Is Howard Ferguson's music mandatory listening?

No, but what fun to explore! Hickox's two recordings, one on EMI and the other here on Chandos, are terrific introductions into the composer's musical world.

His music is distinctly British, aided here by the LSO singers, but there are curious harmonic choices which make my ears prick up, especially in his orchestral music.

 

 

 

 

Find more Ferguson recordings HERE!