William Yeates Hurlstone (1876-1906)
           Piano Chamber Music

Piano Trio in G major
   1.  Allegro moderato
   2.  Andante
   3.  Scherzo/Molto vivace
   4.  Rondo/Allegro comodo
5.  Adagio lamentoso from Cello Sonata in D major *
Piano Quartet in E minor *
   6.  Allegro moderato
   7.  Andante cantabile
   8.  Vivace, ma non troppo
   9.  Lento, ma non tropo - Allegro giocoso

James Boyd, viola *
Dussek Piano Trio:
Gonzalo Acosta, violin
Margaret Powell, cello
Michael Dussek, piano
Recorded at Henry Wood Hall, London, September 2002
Released August 2003
Dutton/Epoch 7128 [61:54]

The Late-Romantic composer William Yeates Hurlstone might have some
name recognition in Great Britian, but he's a virtual unknown in the
United States.  Much of this is likely due to his premature death at
the age of thirty, because his music is fully the equal of a Bax or
Bliss at a comparable stage of life.

When I initially listened to the first work on the program, the Piano
Trio in G major, I was struck by the concise architecture, varied themes,
and gorgeous sonorities and lyrical utterances.  So, once again, we find
a exceptional composer that nobody has heard of and wonder how many other
fine ones are behind the locked door.  In any event, I applaud Dutton/Epoch
for this new disc and the many others the company has released that
allows us to revel in the great sounds of 20th century British composers
of little reputation.

Now comes the time for some biographical information about Mr.  Hurlstone
who was born, raised, and lived in London in the same neighborhood as
Samuel Coleridge-Taylor who was a close life-long friend.  Both attended
the Royal School of Music and studied composition under Sir Charles
Stanford.  An interesting tidbit is that Ralph Vaughan Williams, Gustav
Holst, and John Ireland were also in that classroom and that Stanford
considered Hurlstone his most promising student.

Hurlstone's musical career consisted of teaching, conducting, and
composing.  Although most of his compositions were of the 'light' variety,
his chamber music aspired to more serious horizons.  By the time of his
death, Hurlstone had left us with six orchestral works, the same number
of chamber works, one piano concerto, and some choral and solo music
pieces.

Speaking of death, Hurlstone and Coleridge-Taylor had similar
experiences in that both collapsed at a railway station and then died
in their respective beds.  Another strange event occurred a few years
after Hurlstone's death.  Coleridge-Taylor told his wife that he had
a dream where he met Hurlstone, but they could not shake hands.  To
Coleridge-Taylor, the meaning was that he would shortly die himself.
Within a week, he was history.

How to describe Hurlstone's chamber music?  Well, it's very much in the
late-romantic mode with a slight emergence of dissonance in the Piano
Quartet.  Scottish folklore plays a significant role in his compositions
as does a healthy degree of harmonic adventure.  These two characteristics
along with exceptional lyricism, instrumental balance, ample variety of
expression, and a very tight architecture inform Hurlstone's chamber
music.

The disc under review contains three works, the Piano Trio being the
most immediately appealing.  Each movement draws me in right in from
the beginning bars, and it all starts with a lovely theme from the cello
that is continued with the violin's entrance followed by the emergence
of the piano into the mix.  Another gorgeous theme begins the 2nd Movement
Andante, and the playful 3rd Movment Scherzo alternates deliciously
between two and three beats to a bar; the trio section is also alluring
with its lilting Viennese-type melody.  The finale is a propulsive Rondo
with undulating accompaniment from the piano; adding interest is an
heroic yet tender contrasting theme.  Later in the Movement, the Rondo
theme is subjected to a compelling fugal treatment quite unexpected.  I
was hopeful that Hurlstone's music would be worthy, and the Piano Trio
exceeds all expectations.  Largely an upbeat work, it has ample variety
of form and expression, and Hurlstone makes it clear that he is a superb
melodist.

The Adagio lamentoso from Hurlstone's Cello Sonata was transcribed for
viola and piano by Hurlstone and Frank Bridge; later, it was even arranged
for clarinet and piano.  This is a melancholic and haunting piece of
music offering a fine contrast with the upbeat Piano Trio.

The Piano Quartet is a work with pervasive angst and longings except
for the final movement.  As with the previous works on the program,
each movement has lovely outpourings of emotions and effective harmonic
turns.  The final movement is my favorite.  It's the only piece on the
disc having an introduction, and it begins with mournful phrasing that
eventually turns more optimistic.  Then high times take center stage
with the primary Allegro melody that is intoxicating in its exhilaration
and drive.

Performances and recorded sound are exceptional at all times.  The
instruments all have gorgeous tones and are afforded their separate sound
corridors to enhance detail and interplay.  The artists sound like they
have been playing together for years and also reveal a strong affection
for Hurlstone's music.

Don's Conclusions: Excellent music, exceptional performances, and superb
sound add up to a very strong recommendation for this Dutton recording
of Hurlstone's chamber music.  The disc is essential for lovers of early
20th century British chamber music but should also greatly appeal to
anyone who appreciates a fine melodist who writes in compact fashion
with an outstanding command of instrumental balance and structure.  Once
again, Dutton Laboratories has enriched our legacy of musically inspired
and accomplished 20th century British composers.  Don't miss this one.

Don Satz
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