Album insights
The public opinion underwent a remarkable transformation over the past decade, making the performance of the music at hand not only possible but even desirable. Two of the works had not been heard between their respective premieres (Three Dances in 1915; Piano Concerto in 1925) and 1989. That year, the author of these lines curated a Howells series for the BBC Radio 3 program "Composer of the Week," focusing for the first time on the composer's orchestral music. It was a revelation.
Herbert Howells, the most talented student of his generation at the Royal College of Music, was hailed as Sir Charles Stanford's musical "son." As recalled by Sir Arthur Bliss, who joined the RCM a year after Howells, "Howells was the standout talent." Despite creating scores quickly and exhibiting technical maturity, he was humbled by the realization that there were others more gifted. Howells' orchestral music had been largely neglected for many years, with reasons pointing to his sensitive nature towards criticism and a belief that the audience desired more concise compositions.
The question of why Howells' orchestral music remained overlooked for so long has multiple answers. Howells was known to be sensitive to criticism, withdrawing works upon receiving negative feedback, possibly due to his idolization by Stanford. Additionally, while he once claimed there was no room for symphonic lengths in today's music landscape, it was not a belief he held; rather, it catered to what the audience supposedly wanted.
Among the three featured works, two, namely the Piano Concerto and the Concerto for String Orchestra, are large-scale three-movement pieces. In contrast, the Three Dances are delightful miniatures originating from Howells' relatively carefree student days in 1915. Despite the looming impact of significant events at that time, the music exudes a cheerful quality, devoid of the pathos prevalent in Howells' later works. Although somewhat uncharacteristic of his mature style, these dances remain wonderful pieces.
The Piano Concerto No. 2, performed in 1925, was a significant event with Harold Samuel as the pianist. The premiere, however, was a disaster, leading Howells to freeze as a composer for nearly a decade. His later work, the Concerto for String Orchestra, was a tribute to Elgar and reflected a shift in his focus from concert hall music towards church and choral compositions, ultimately defining his later career.
Howells' journey as a composer, marked by challenges and substantial personal losses, highlights his evolving musical style and the triumphs that emerged despite setbacks and self-imposed pauses. Through recordings like the current one, a chance arises to reevaluate and appreciate Howells' pivotal orchestral works, instrumental in shaping his musical persona and career trajectory.