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Did anyone listen to these recordings? Any opinion? I really enjoyed Braunfels' Die Vögel a few years ago!

Volume 1
http://www.oehmsclassics.de/artikel.aspx?voeid=16313&erweitertesuche=true

Volume 2
http://www.oehmsclassics.de/artikel.aspx?voeid=16654&erweitertesuche=true

A recent video recording of some early pieces by Dutra has been uploaded on YouTube a few months ago and gives us an opportunity to discover a little bit more of this elusive Brazilian composer :

https://m.youtube.com/watch?v=m8swQSUndBk

The phrasing doesn't make clear that not everything by Héritte-Viardot's gone missing- and of course there's at least the 3 items @ IMSLP for instance, including two substantial-looking quartets

Eric, maybe not everything, but according to Launay, 300 works! What would we really know of Chopin, Brahms or Tchaikovsky if such a large part of their musical output were to be missing?

Interesting new project, we might hear some unexpected masterpieces by female composers in the next few years thanks to BBC Radio 3. Finding the music could be a challenge though. I read 10 years ago Florence Launay's book "Les compositrices en France au XIXe siècle", and many works by these female composers were presumed lost, unfortunately. Launay's website includes a list of major works still missing http://www.compositrices19.net/alaide.html

Read more here about the BBC project :

http://www.gramophone.co.uk/blog/gramophone-guest-blog/we-want-to-champion-women-composersbut-there-arent-enough-recordings-to

Any suggestions? Or does anyone here know a member of the Arts and Humanities Research Council? Who knows how much we could influence the choices made!

How about one by French composer Augusta Holmes, TROIS ANGES SONT VENUS CE SOIR (is it known outside of French-speaking countries? - kolaboy, I'm in Quebec City btw, so if you need help let me know!).

https://m.youtube.com/watch?v=a2h-czxJO8s

According to Ivor Keys' analysis (to be found in Margaret Deneke's book), the Fantasia Op. 32 (composed in 1905, but published almost two decades later), unlike much earlier chamber music by Walker, moves away from Brahms mold. A more detailed analysis is to be found in The Strad, the very same year it was first published.

The Strad - 1923, Volume 34 - Pages 213-214

Brief causeries
By Sydney Grew.

I have recently given myself the pleasure of reading Ernest Walker's fantasia in D major, for string quartet (Op. 32), and am dawn to attempt the impossible task of conveying some of my impressions to words. I was already aware that this piece had been played many times by the Catterall Quartet, also by a famous quartet in Vienna, of which the name has escaped me ; but I had not heard the music, nor did I suspect it was so lovely.

Hitherto my acquaintance with Dr. Walker's music has been confined to a reading of his setting of Keats's "Ode to a Nightingale", which was no more successful than any other setting of this poet's work, and to some piano pieces (a mazurka, and a piece for left hand alone), which he played to me about twenty-two years ago ; in the days when he, with Mr. Burnham W. Horner, was an examiner for the Society of Arts. Therefore I can say that this fantasia came to me practically as the first note of Ernest Walker's later and more individual compositions.

It is by the serenity of this piece that I am most affected. The music is pure, in the beautiful degree of purity which we convey by the term Classical. It moves over a very profound emotional basis, but that emotion has been rendered absolute by the composer's mental development, so that its expression lifts one up into the marvellous world where we acquire contentment. I know no higher praise that can be offered art.

The very opening strikes the authentic note of true music : (Ex. 1)

The opening adagio is very gracious. With slight increases in the tempo the music proceeds through some smooth modulations, and in a contemplative vein, to a close on the dominant; and then, out of the tranquility thus achieved, it springs lightly into the quick middle portion of the piece.

This vivace is the perfect sequel with the preceding. It demands a perfect sense of rhythm in the players, and an immaculate accuracy of touch ; yet otherwise it is not at all difficult. The time is 6/8, but the dotted minim is only as long in time as the crotchet of the adagio. I cannot quote from the vivacious portion of this central movement ; but the following outline of the middle theme of the section will show how thoroughly the mood of the beginning is expanded into the atmosphere of the vivace. There is something of the Beethoven elevation in music.
(Ex. 2)

The immediate sequel is a passage of development that well reveals the composer's skill, yet all the time without in any way falling into a display of skill for the sake of skill. Indeed, this animated development reveals even more finely his musicianship, because it is clearly not only an outgrowth of the mood of the piece, but actually the necessary process of embodying the full statement of that mood.

The middle movement closes in a sustained passage which is not unlike a lyrical hymn-tune, and out of this it proceeds gently into a repetition of the opening adagio ; now in the main key of the piece, and with the original themes given in more complete melodic form.
(Ex. 3)

Gradually the piece returns to the exact outlines of the beginning, as shown in my first example, and the fantasia ends in the tone ineffable serenity towards which it has been progressing from the start.

I believe that Dr. Walker's quartet will become a widely used piece, not only before professional audiences, but also in the homes of amateurs. I certainly hope that it may become this, for the credit of our chamber art and in order to encourage other composers to write in the same manner. The piece would, I imagine, be a perfect test piece at the larger musical competitions. It is published by Fischer and Bro., of New York, and 3, New Street, Birmingham, England.

Pianoforte Quartets in D Major (1899) and and in C minor (1910) received mixed reviews over the years.

Pianoforte Quartet in D major (1899):

The Musical Times and Singing
Class Circular - Vol. 41, No. 683 (Jan. 1, 1900) - Page 42

Miss CECILIA GATES gave her last chamber concert at the Crystal Palace, on the 11th ult. It was distinguished by the first performance of a Pianoforte Quartet in D, by Dr. Ernest Walker. This consists of the customary four movements, which are laid out on classic lines. The work is very unequal in merit and suffers from diffuseness, but several of the themes are suggestive, and the writing is always musicianly. It was fairly well interpreted by the composer, Miss Gates, Mr. H. Krame, and M. Jacques Renard.

The Musical Times and Singing Class Circular - Vol. 42, No. 695 (Jan. 1, 1901) - Page 31

A pianoforte quartet by Mr. Ernest Walker is also full of ability, but in it there is a trace of the desire to display learning for its own sake, a thing not uncommon in modern English chamber music. It may be a fault on the right side, but it is a fault.


Pianoforte Quartet in C minor (1910):

The Strad - 1911, Volume 21 - Page 421

While on the subject of chamber music I must dwell for a moment on Mr. Dunhill's interesting series of concerts promoted with the chief object of re-introducing works by native composers which were favourably received on the occasion of their first performance. [...] A pianoforte quartet [in C minor, see The Musical Times - Vol. 52, No. 818 (Apr. 1, 1911) - Page 256] of Dr. Ernest Walker was also revived ; scarcely so interesting this, but not without grace and elegance of workmanship.

Cobbett Cyclopedic Survey of Chamber Music - 1963, Volume 2 - Page 565

A piano quartet in C minor received a supplementary Carnegie award, MS. copies being provided in order to facilitate performance.

The Oxford Magazine: A Weekly Newspaper and Review - 1957, Volume 76 - Page 140

Compositions written in the Brahmsian tradition, such as those of Dohnanyi and Ernest Walker, are not so popular now, but Ernest Walker's Pianoforte Quartet in C minor is well worth performance : beautifully written for the instruments, full of a remarkably fresh inspiration that seems only to fail a little in the slow movement, and written with real intensity and passion.


Finally, just a word to let you know that my post about the Horn Quintet has been expanded (if you haven't noticed yet!).

And now, some thoughts on the Quintet in A for Pianoforte and Strings, composed in 1905.

Musical News - 1905, Volume 29 - Page 408

At Bechstein Hall, on November 1st, the Wessely String Quartet, consisting of Mr. Hans Wessely, and Messrs. Spencer Dyke, Ernest Tomlinson and B. Patterson Parker, gave the first concert of their fifth series of Chamber Music concerts. They have so firmly established a reputation for the skill and refinement of their playing, and the finished charm of their interpretations, that musical folks came in large numbers. [...] This was followed by a new Pianoforte Quintet from the pen of Dr. Ernest Walker, whose name as writer of much good musical work is already well known. The Quintet, which is in four movements, opens with an Allegro Moderato, suave and melodious, gracious and grateful to the ears. The Adagio which follows is tender in theme and of somewhat fervent and devotional character. The brief third movement, Allegretto, is less interesting than the preceding, but is skilfully written for the instruments, and the piano has some effective passages in triplets. The Finale brings the solo instrument into much prominence ; there is a striking and melodious theme, which however, curiously recalls the ballad "Ethiopia trooping the colours." Dr. Walker played the piano part admirably, and at the conclusion the performers were twice recalled at the platform. Dvorák's Quartet in E flat (Op. 51) was the last item.

Musical News - 1909, Volume 37 - Page 566

The Rawdon Briggs Quartet Concert was an example of the precision, finish, and sympathy which one associates with the playing of Mr. and Mrs. Rawdon Briggs, Mr. John Bridge (second violin), and Mr. Walter Hatton ('cello). The programme contained three items, [..] and a new work, which was favourably received, viz., Dr. Ernest Walker's Piano Quintet in A, in which the composer played the clavier part. In four movements, the work presents features of originality, with an appreciation of classical models. Dr. Walker's themes are interesting and melodious, and their treatment is constructively effective. The Allegretto is especially graceful.

The Musical Times - Mar. 1, 1909,  Vol. 50, No. 793 - Page 189

The programme of the concert of the Edith Robinson Quartet on February 1 contained Dr. Ernest Walker's Quintet for pianoforte and strings in A [...]. Dr. Walker was at the pianoforte for his Quintet, the performance of which (for the first time here [in Manchester]) excited much interest in musical circles.

How about a few more reviews, this time for the "Variations on an Original Theme, for viola and piano".

The Oxford Magazine: A Weekly Newspaper and Review - 1958, Volume 77 - Page 42

Ernest Walker's Variations on an Original Theme for viola and piano proved to be one of his finest compositions, written, of course, in the Brahmsian tradition, but with a noble theme splendidly worked out, especially in its more dramatic sections.

The Strad - 1909, Volume 19 - Page 308

Mr. Alfred Hobday's viola playing is happily too well-known to need description. He and his wife gave a pleasant concert at the Æolian Hall the other day at which they were heard together in a set of Variations for viola and pianoforte by Dr. Ernest Walker. The theme was founded upon the musical equivalents of the concert-giver's name (H standing for B natural), and the work proved to be very agreeable, if not very strong in character.

Notes - March 1954, Volume 11, No. 2 - Page 273-274

A pleasant show-piece. Walker seeks out, with solid craftsmanship, a number of transformations of the theme. A pleasant reminiscence of Brahmsian technique lingers over the work and will be especially apparent to the pianist's left hand at times. Both string and keyboard run the gamut of calmness and energy, climaxing in a flourish of agitato-marcato-allargando-ad lib.-stringendo-largamente-accel.-precipitando and concluding calando.

Arthur Cohn, The Literature of Chamber Music: Röntgen to Zwilich - Page 2930

Variational style here is displayed in continuity. There is no doubt as to the transformations, guided by rhythmic or harmonic detail, specific textural weight, or style. For example: The fifth variant is chordal, the sixth a canon set over a pedal point, the eleventh variation drenched with Brahmsian thirds and sixths. There is an introductory section before the theme is announced. It is mainly for the viola. This is balanced by the final variation — a "quasi ad lib" portion, stated by the piano and followed by a virtuosic but properly fitting cadenzalike division for the viola. This point of balance is further strengthened by the return of the theme.

The Oxford Magazine: A Weekly Newspaper and Review - 1968 - Page 304

Ernest Walker's " Variations on an original Theme " were played in memory of his old friend Miss Margaret Deneke by Paul Doktor. They are well written in the manner of Brahms and occasionally verge on mastery.

And one more review of two other opuses :

The Strad - 1917, Volume 27 - Page 49

Dr. Ernest Walker's Opus 9 & 11
A Review by W. Wells-Harrison

Ernest Walker needs but little introduction to the musician, but his music is, unfortunately, not too familiar to the ordinary concert-going public. Most of his best work is designed for the chamber and but little of it is published. There are, however, two exceptions, namely, his fine Sonata for violin and piano, which will be included in the Modern British Music series in this journal shortly, and a similar work for viola and piano that may justly be ranked as one of the best things of its kind.

The Romance in B flat, Op. 9, is a composition for this same combination, and players of this much neglected string instrument are to be congratulated upon the acquisition of a charming and characteristic work. The first section of the piece is based upon a suave melody, well calculated to display the qualities of the viola to perfection, and an equally attractive counter-subject on the piano. After this has been discussed for some time the tempo quickens to Un poco piu vivo and a section more impetuous and, harmonically, considerably more richer, takes place. A resumption of the first portion and an effective Coda, evolved out of the middle section, brings the whole work to a conclusion. The Romance is slight placed beside the more important works of the same composer, but it is none the less eminently musicianly and shows that when Dr. Walker writes something small it does not necessarily mean that his inventiveness and workmanship are below the usual high standard in consequence.

The two pieces which comprise Opus 11 are laid out for 'cello and piano, the first being by far the most important. This is labelled Ballade, and is, despite its brevity, of considerable beauty and interest. In the opening the phrases forming the main theme are supported by a chordal sequence on the piano which provides a particularly effective atmosphere. Anon the music becomes more agitated and later we have some very fine instances of tone colouring. An Allegro vivace ma non troppo forms the second section of the work and contains many points of interest and not a few touches of fine musicianship. The Coda has reference to the opening section which forms a fitting conclusion to a work of undoubted beauty.

The second number of this opus in an Adagio in E flat which is found both characteristic and beautiful. The piano accompaniment to the first portion has many fine touches but is not in any way obtrusive. The short middle section is both interesting and grateful to perform, and a partial resumption if the original matter closes the piece. The whole is quite unpretentious, but nevertheless has about it an air of calm, dignified beauty which is extremely refreshing.

It may be mentioned that all three works are issued by Messrs. Joseph Williams, Ltd., the viola piece being 3s., 'the first number of Op. 11, 2s. 6d., and the second, 1s. 6d. In the Romance there is an alternative and very effective arrangement for clarinet, whilst Op. 9, No. 2 [i.e. Op. 11, No. 2], may be performed by horn, a part for that instrument being included in the score.

I'm still exploring reviews of Walker's chamber music. First, I have found these two exhaustive (and rather positive) reviews of the Sonata in A minor, Op. 8, for pianoforte and violin, from 1898.


Musical News - 1898, Volume 14 - Page 289

"At a concert given by Miss Cecilia Gates at the Queen's Small Hall, on March 11th, special interest centred in the MS. Sonata for violin and piano_ by Mr. Ernest Walker, Mus.B., Oxon., played for the first time in public by the composer and the concert-giver. This proved to be a work of marked excellence ; its key is A minor, and its movements are an Allegro, Larghetto, and Andantino con moto. It is clear from the general tone of the work that Brahms must be its author's favourite composer, but from saying this it must not be inferred that Mr. Walker has copied the great Viennese writer. He is quite able to think for himself, and has invented distinct themes which he treats not only in scientific form, but, what is better still, with a fancy and skill that display the imaginative artist. The first movement is the most independent of the three ; the Larghetto is of a calm reflective type, and the Finale, which suggests the variation form, the most brilliant. The work was splendidly rendered, for Mr Walker is a fine pianist, and Miss Gates's playing was that of an artist who has thoroughly mastered her instrument : her purity of tone, refinement, and finished phrasing were all that could be desired."

Musical News - 1898, Volume 15 - Page 613

"Sonata, in A minor, Op. 8, for pianoforte and violin. By Ernest Walker. (Joseph Williams.) Artists and amateurs alike will welcome the publication of this beautiful work, one of the few examples of real genius in this branch of the art that have of late years been given to the world. Laid out on classic lines, being both thoughtful and scholarly, and treated throughout with that discretion and skill which show the master hand, it is still the beauty of this themes that forms the strongest point and most living interest in the Sonata. Dr. Walker has not given way to that passion for overdevelopment which characterises so much of the music of to-day when written on classic lines ; he exercises a wise restraint after setting down sufficient to prove his powers. The work is in three movements, of which the first, though perhaps the least original, is strong and stirring, in strict form, and of much depth and interest. The contrasting themes of the middle, or slow movement, together with a subsidiary subject and a coda of much ingenuity, form a veritable tone poem. The Finale consists of a set of variations of much originality, built up on a theme both simple and direct. The Sonata has already on some few occasions been brought before the public in MS. form. We may now expect a more frequent hearing."

On the other hand, in a letter written to his colleague Howard Ferguson in 1940, Gerald Finzi is more severe regarding the complete Sonata. Nevertheless, he admits that it "[...] has a lovely Larghetto. It's more Brahms than Brahms, but really most beautiful the more one knows it."
You'll find the complete letter edited here by Howard Ferguson and Michael Hurd:
https://books.google.ca/books?id=tmGNIq3HdWUC&pg=PA200&dq=%22violin+sonata+%22+%22ernest+walker%22&hl=fr&sa=X&ved=0ahUKEwjqk_SovbDMAhUBHD4KHamSDUIQ6AEIITAA#v=onepage&q=%22violin%20sonata%20%22%20%22ernest%20walker%22&f=false

Finally, a review published in "The Oxford Magazine: A Weekly Newspaper and Review" (Volume 75, 1956 - Page 166), of a performance for the Oxford Ladies' Musical Society 694th Concert :

"Maurice Fueri (violin) and Jean Hubeau (piano), two French artists, were unexpectedly at their best in Ernest Walker's Sonata in A minor, Op. 8. This is a really splendid work in the tradition of Brahms, full of exuberance."

I haven't seen the music yet.

Martin Holmes, music librarian at the Bodleian Library, was very helpful a few years ago while I was looking for some music manuscripts by Percy Sherwood. I'm pretty sure he would be glad to help if one asks.

Very interesting! Where are his papers and manuscripts kept?

Bodleian Library, University of Oxford:

http://www.bodley.ox.ac.uk/dept/scwmss/wmss/online/modern/walker/walker2.html

http://www.bodley.ox.ac.uk/dept/scwmss/wmss/online/modern/walker/walker.html

I've recently came across a review published in 1910 in "Musical Opinion and Music Trade Review". It is written by Walter Bernhard, author of the "Out and About" section in this periodical. His review is very intriguing, and I certainly wish I could hear Walker's Quintet (and more of his music) after reading it! Here is the transcription of this very positive critique.

"On April 2nd (the last concert of the season) the announcement of Schubert's Octet in F (Op. 116) was an irresistible attraction both to myself and to a couple of friends who also came from afar. The programme commenced with Dr. Ernest Walker's Quintet in B♭minor, for horn, two violins, viola and 'cello. Of this I knew nothing; but an attentive hearing made us come to the conclusion that it was the most beautiful example of chamber music by a native composer we had ever heard. The opening Andante was grateful music calling for attention; the second movement better still; while an Andante with Variations—all good, but two especially notable-brought the work to a brilliant termination. We were alike surprised and gratified."

And a second one, published earlier (unknown author) :

The Musical Times - Vol. 49, No. 782 (Apr. 1, 1908) - Page 249

KRUSE QUARTET. Of the lesser known works performed at the six subscription concerts given at Bechstein Hall, mention should be made of a manuscript Quintet in B flat minor for horn and strings, composed by Dr. Ernest Walker. It consists of three movements, severally headed, Andante non troppo lento, Molto vivace con fuoco, and Allegretto grazioso, directions which indicate the effective contrast of the numbers. The music is pervaded by a romantic spirit which was happily accentuated by Mr. Borsdorf's expressive rendering of the horn part.

Hi,

So I'm bringing back this topic. The Royal College of Music's YouTube channel offers a few recordings by pianist Maksim Štšura, performing some of these pieces. Certainly worth hearing.

No. 2 in A minor - Moderato – Fughetta
https://m.youtube.com/watch?v=HJuYNhTMRPY

No. 4 in C sharp minor – Andantino con moto – Quasi Improvisato
https://m.youtube.com/watch?v=zfpZlDIX3lM

No. 53 in E major – Allegretto con moto
https://m.youtube.com/watch?v=1f7vXpCqFiI

No. 172 in A minor – Allegro risoluto
https://m.youtube.com/watch?v=6ZTpNnbGk7I

No. 173 in B flat major- Allegretto vivace
https://m.youtube.com/watch?v=NEQHsnY1jKc

No. 337 in B flat minor – Moderato
No. 338 in D flat major – Lento religioso
https://m.youtube.com/watch?v=pCjgMjXtmIY