Performers are of the top rank

5 Jul 23

English 20^th century composer Pamela Harrison was born in Orpington and was an RCM student of Gordon Jacob and Arthur Benjamin. She was the wife (divorced in 1959) of the cellist Harvey Phillips, whose eponymous orchestra often broadcast on the Third Programme. She lived on the North Downs, Dartmoor and then Castle Cary.

The Clarinet Quintet – first performed by Jack Brymer with the Hirsch quartet – is a thing of irrepressible songfulness. Harrison marries this with episodes driven with urgency and disrupted by jazzy cross-currents. This latter quality alternates with calm in an ebb-and-flow pattern. The middle movement is typically elegiac but with an ascending intensity. It is longer than other two put together and forms the coping stone for this quarter-hour work. The finale radiates a poignant Finzi-like joie de vivre.

The Sonnet is, like a few other works here, very short and is a peaceful ‘haiku’. The notes tell us that this is a love song; if so, it is a love that is generous, and does not possess or cajole. The Violin Sonatina variously dances, shivers with a knowledge of the ephemeral nature of life and is devoid of nostalgia. On the contrary, it is instinct with recollection of the loss of years part. The finale is almost twice as long as II and III together. It has a quick pace and a calypso-like rolling gait. Faggot Dance is another short jewel of a piece for flowingly Poulenc-like bassoon. It is not at all long-winded; even short pieces can be long-winded.

The Clarinet Sonata (1953) was said to be ‘gritty’; again, it’s associated with Jack Brymer.

This three-movement work is played with feeling, the piano seeming to cry out.

The finale is one of cartwheeling urgency which has, as a counter-balance, the lyric voice that is the natural province of the clarinet. Drifting away – an outlier, first performed in 1975, was also associated with Brymer. It is bound up in Yeats’ line “All that’s beautiful drifts away like the waters”. The brief sketch Idle Dan for cello and piano, is more of a glance than a mood picture; a breeze-blown doze in a hammock. The Piano Trio – again in three movements – is a work of light touch nostalgia. The listener will experience a seething Howellsian lyricism and a finale that evokes ringing bells with as much impact as Vaughan Williams’ “Noisy bells” and the clangour that rounds out, in tear-stained triumph, the finale of Falla’s El Amor Brujo.