Among the handful of labels busily restoring York Bowen’s reputation as one of the greatest English composers of the 20th century, Hyperion is at the vanguard. Just taking the solo piano works alone, there is, for example, Stephen Hough’s riveting 24 Preludes in all major and minor keys and Danny Driver’s superb complete Piano Sonatas.
It seems apt that, like Hough, a fellow pianist-composer such as Nicolas Namoradze should tackle this music. That’s because not only is it stylistically indebted to the great pianist-composers of the past (which is not the same thing as derivative). It is also inspired by pure technique (the 12 Studies for piano Op 46), pure storytelling (Fragments from Hans Andersen Op 58 & 61) and pure delight in virtuosity (the Concert Studies Nos 1 & 2).
A professor of piano at the Royal College of Music for most of his career, Bowen (1884-1961) also played the viola and horn, and his fine orchestral and chamber works show the benefit of hands-on knowledge. But it is arguably his piano music that will comprise his greatest legacy. Especially when there are players of the stature of Namoradze to advocate so convincingly for it. Namoradze opens his recital with the Hans Andersen pieces, which booklet note author Francis Pott correctly describes as 'engaging mood pictures and character sketches'. Here are Thumbelina, the Tin Soldier, the Marsh-King’s Daughter, the Metal Pig and more.
Musically, Grieg springs naturally to mind, but Pott also mentions the fleeting compositional presences of MacDowell, Debussy and Delius. Namoradze captures the magic and romance of these miniature masterpieces to perfection. The Golden Treasure’s swift passages shimmer; A Picture from the Fortress Wall’s landscape unfolds like a Japanese scroll.
Namoradze relishes the insouciant romanticism and exuberant virtuosity of the Concert Study No 1 in G Flat; but this almost feels like a warm-up for the Lisztian (Mephistophelian?) Concert Study No 2 in F. Both are tremendous fun to listen to, and no doubt to play—providing you’re equipped with a technique such as the present performer’s! Speaking of technique … The titles of each of the 12 Studies Op 46 clearly identify their purpose. No 1 is 'For Chords of Heavy Quality'. No 4 is 'For Forearm Rotation'. No 7 is 'To Induce Lateral Freedom of Hand and Arm'. No 11 is 'For Brilliancy in Passagework'.
But as with Chopin’s etudes, these are no mere exercises. Bowen is too good a composer. No 2 'Light Staccato Chords' is playful, impish, Mendelssohnian with a dash of Liszt. No 5 'For the Glissando' is an extravagant note-studded march. No 10 'For Octave Playing' and No 11 'For Brilliancy in Passagework' invite favourable comparisons with Chopin. Pott identifies other comparisons.
But it’s too easy to get caught up in trainspotting. To restate: Bowen is too good a composer to allow stylistic influences or the note-spinning sometimes required of technical exercises to get the better of him. His is a unique voice, resonating down the decades with lyricism, imagination, warmth and, yes, technical brilliance.