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 [log in to unmask]