Album insights
Roger Sacheverell Coke, a pianist and composer, was born in 1912 in Derbyshire, to a family with deep roots tracing back to the 15th century. Raised by his mother after his father's early death in World War I, Coke attended Eton College and later studied composition with Alan Bush, music theory with J. Frederick Staton, and piano with Mabel Lander, a student of Leschetizky. Following his studies, Coke returned to the family estate where his mother converted the stables and coach houses into a music studio and concert hall, which remained his lifelong home and center of musical activity.
Central to Coke's work was piano music. After early successes as a pianist, his compositions were performed in various cities and with orchestras, including the Brookhill Symphony Orchestra he founded in the early 1930s. While his initial works received favorable reviews, Coke, drawn to Rachmaninoff, distanced himself from the post-war European avant-garde and Benjamin Britten. His romantic style, influenced by Bruckner, Mahler, Bax, and Sibelius, along with his admiration for Russian music, left him an outsider in the British music scene. Combined with his severe self-criticism and struggles with schizophrenia, Coke withdrew his early opus numbers, including his acclaimed Piano Concertos Nos. 1 and 2.
Following World War II, Coke’s performances were mainly limited to Derbyshire, with some exceptions, such as appearances at the Wigmore Hall. Despite hopes for renewed interest, especially after landmark London performances in the late 1950s, including his opera "The Cenci," Coke faced setbacks like critical reception and personal health issues. Yet, much of his unpublished works are preserved in Chesterfield's public library, featuring approximately a hundred songs, numerous piano pieces, symphonic poems, sonatas, and chamber music.
Notably, the journey between 1938 and 1950, marked by the composition of his Piano Concertos Nos. 3, 4, and 5, reflects Rachmaninoff's influence. His distinctive style and intricate compositions exemplified in the Piano Concerto No. 3 in E-flat Major, Op. 30—with its emotive themes and rich orchestration—showcased Coke’s musical depth. The subsequent Piano Concerto No. 4 in C-sharp Minor, Op. 38, expanded on complexity and personal expression, akin to Scriabin, while displaying a shifting landscape of moods and melodies. Unveiling an experimental nature, the Piano Concerto No. 5 in D Minor, Op. 57, introduces enigmatic themes, exploration, and dialogue between piano and orchestra, rendering a profound musical narrative.
Presenting a striking blend of Russian romanticism and innovative twists, Roger Sacheverell Coke’s compositions invite listeners on a captivating journey through varied emotions and intricate musical landscapes.