Gustav Holst - The Wandering Scholar; A Song of the Night; Suite de Ballet

Gustav HOLST (1874-1934) 

Suite de Ballet  

A Song of the Night* 

The Wandering Scholar Chamber Opera in One Act   

*Lesley Hatfield (violin)

Ingrid Attrot (soprano)

Neill Archer (tenor)

Alan Opie (baritone)

Donald Maxwell (bass)

Northern Sinfonia 

Richard Hickox

This brief but delightful programme opens with an early work, Suite de Ballet., Op. 10 (1899) which Holst wrote while he was touring with Carl Rosa. It is light music. The opening 'Danse rustique' is just that, a charming little piece with plenty of rhythmic drive, recalling Edward German and Sullivan. 'Valse' has the grace of classical ballet although one or two phrases might disconcert some choreographers into thinking them rather heavy-foooted. The 'Carnival' movement is high-spirited and evokes the hustle and bustle of the crowds and the enticements of the side-shows and fair-ground rides. There is quite a strong Gallic feeling about it yet the slower middle section uncannily pre-echoes Eric Coates's more romantic moments. But the most charming movement, is the sweetly romantic and atmospheric nocturne that is the 'Scène de nuit.'

Another lovely nocturne - Song of the Night (1905) demonstrates how far Holst's talent had progressed. This work has altogether more depth and range and shows much more confident and imaginative writing for the solo violin. Although Holst left no clue as to the specific meaning or influence of the song, we may deduce that it encompasses his enthusiasm for Indian mythology since, at the time, he was deeply immersed in learning Sanskrit and writing music with definite Indian leanings.

The main work in the programme is the brief (25 minute) one-act chamber opera, The Wandering Scholar (1929-30) that was influenced by the writings of Helen Waddell.  The comedy is slight with no chorus and just four characters. Holst uses spare orchestral forces, there are no big numbers, no set-pieces, and no overture. It is a simple rural tale, told simply with original music that suggests (but is not) folk music.

The story opens with farmer Louis (a lusty yet reliable Alan Opie) wanting to take his oats with his wife Alison (a scheming, flirtatious Ingrid Attrot) but she has other ideas. As soon as she sees Louis off to market, she entertains randy Father Phillipe hinting - "…the heart should have its fling and put forth new love every Spring..." The orchestra amusingly admits the idea but, at the same time, censors it. For his part, Philippe (a really lecherous ill-tempered Donald Maxwell), is keen to get her upstairs (up the ladder anyway) to "…exorcise the naughty devil of springtime in your eye…" He is just about to have his wicked way, when Pierre enters (a knowing Neill Archer as the not-so-innocent wandering scholar). Pierre is down on his luck and begs food. To Father Philippe's disgust, Alison fancies him and wants to feed him. In a jealous rage, Philippe chases the hapless boy away. Once again, the would-be lovers go towards the ladder, fat Philipe worrying if the rungs will hold him when they hear Louis returning - with Pierre! Hurriedly, Alison hides the food and wine and pushes the fat Father beneath a clump of hay. Louis demands that Alison feeds Pierre. She is adamant that there is no food in the house and tells him to take Pierre into town for a meal. Pierre suggests he tell a tale first. Louis is enthusiastic but Alison, understandably, is not. During his fable, Pierre manages to weave into the story the whereabouts of the food and wine, and, finally. Philippe together with an allusion to his wicked intentions. Louis beats the fat man and chases him from the house then invites Pierre to sit and eat while he takes Alison upstairs…

A slight but amusing tale that Holst considerably heightens with his music.

An interesting collection for Holst admirers.

Ian Lace