Scherzo de Concert Back to list of works index
This piece for flute and piano was published in 1903.
Flute, piano
Kaoru Namba, Ryusuke Numajiri
Jasrac KKCC 3015
WC, TM
Stephen Berry
private recording
PD, TM
Berry's realisation can be heard at http://www.albertketelbey.org.uk/mp3/synth/Scherzo de Concert, Flute and Piano synth.mp3
The Shadow of Dreams: romantic melody
Rosemary Tuck
Marco Polo 8.223699
BL, NX, PD, TM
Short Air Fanfare
The earliest known manuscript of this piece had the title "Short Fanfare for R.A.F.", but apparently Wing-Commander A.E. Sims, musical director of the Central Band of the R.A.F. didn't approve, so it was amended to "Short Air Fanfare". It is for 4 trumpets, optional trombone, cymbals and side drum.
Onyx Brass, Wilson
Chandos CHSA 5221
NX, PD, TM
The Onyx recording includes the trombone, and uses the Ketèlbey's provisional title Short Fanfare for the Air Force.
Sicilian Song
Although this piece for flute and piano was published in London around 1898, the only copy known to have survived is now in the Chatfield Music Lending Library in Minnesota, having formerly belonged to the United States Naval School of Music.
Tom McCanna
To hear this realisation, click here http://www.albertketelbey.org.uk/mp3/synth/Sicilian Song orch synth.mp3
Silver-Cloud: an Indian maiden's song
The hyphen appears in the title in the sheet music, but was omitted from the composer's synopsis in the same source. Different versions also have additional subtitles Descriptive piece or Intermezzo.
Andrew Lamb has pointed out the similarities between this piece, which dates from 1915, and Silver Bell, composed by Percy Wenrich in 1910.
Composer's synopsis
This piece opens with a quiet, melodious introduction, foreshadowing the song of "Silver Cloud", a beautiful Red Indian maiden - followed by a section in the minor, in which the beating of the tom-tom and the rhythmical melody, in a low register, suggest the loneliness of the prairie and the sombre nature of the Red-skin. These lead to a major section in which melodious phrases of a graceful nature work up to a characteristic climax. A few bars of introduction precedes the "Song of Silver Cloud" (assigned to the oboe in the orchestral arrangement) which expresses the tenderness of young maidenhood. A short episode (in which the jingle of horses' trappings suggests the arrival of the lover) leads to the repetition of "Silver Cloud's" Song (Grandioso) and a few characteristic bars bring the piece to a finish in an atmosphere of happiness and the joy of youth.
Regal O, ?Ketèlbey
Regal G 7243
35860 or 35820
[Feb 16]
- Naxos 8.1110870
Richard Ellsasser (John Hays Hammond Jr. Museum, Gloucester, Mass.
MGM E 3282
WC,TM
The composer's recording has two cuts totalling 31 bars: the first is of the opening section, the other a repeated section material. The average speed is crotchet = 83, notable faster than the published metronome mark of 72.
Ellsasser plays the work complete, even with added "tom-tom" bars between sections. Now and then he alters the harmony, and he ends quietly rather than fortissimo.
McCanna's realisation takes a more expansive interpretation than allowed by the technical limitations of the composer's own recording. Click here to hear it. http://www.albertketelbey.org.uk/mp3/synth/Silver Cloud for orch sync.mp3
Silver Stars: graceful dance, by "Raoul Clifford"
For mandolin with piano or guitar, with optional 2nd mandolin. The name "Silver Stars" was later used by Columbia's house band, conducted of course by Ketèlbey.
The realisation rotates the various instrumental combinations, and can be heard at http://www.albertketelbey.org.uk/mp3/synth/Silver stars for mand band sync.mp3
Sonata for piano in E flat major
The composer's manuscript is held by Birmingham City Archive. The work consists of three movements: Allegro comodo dates Oct-Nov 88, Andante undated, Rondo dated Dec 88.
In an article in Music Masterpieces part 12 (18th March 1926) page 183, the composer wrote:
At the age of 11 I composed a sonata for the piano which I performed publicly as a boy in the Worcester Town Hall, and which in later years Sir Edward Elgar told me he remembered well, and greatly enjoyed at the time.
A concert review in Berrow's Worcester Journal no.10215 (Saturday, July 27, 1889); p. 3 reviews a sonata, but apparently a different one:
On Tuesday an invitation concert was given in the Public Hall by Dr Wareing's pupils. .. Master A.W. Ketelbey, one of Dr Wareing's Birmingham School of Music pupils, who has recently gained a Trinity College scholarship, played the first movement of a "Sonata in A," written by himself. The piece shows that the boy has remarkable powers of composition, and his powerful and spirited execution of it also shows that he has equal power in the manipulation of the pianoforte. No doubt if his studies are continued, and are rightly directed, he has a brilliant career before him. His performance was most enthusiastically applauded, and he was eventually recalled.
The unpublished chronology of Elgar's life, held in Birmingham University Library, shows that Elgar was actually attending a performance of Carmen at Covent Garden on this date.
So there is confusion. What was the concert that Elgar allegedly attended, and how old was Ketelbey at that time? Was there another sonata in A major from the same period, or did the reviewer get it wrong?
Berry's realisations can be heard at
http://www.albertketelbey.org.uk/mp3/synth/Sonata - 1. Allegro Comodo,Pianosynth.mp3,
http://www.albertketelbey.org.uk/mp3/synth/Sonata - 2. Andante, Piano synth.mp3
http://www.albertketelbey.org.uk/mp3/synth/Sonata - 3. Rondo, Piano synth.mp3
A Song of Summer
Songe d'autrefois
This piece for cello and piano was published in 1955, and is a reworking of the 1903 song Lady of Dreams.
To hear this realisation, click here http://www.albertketelbey.org.uk/mp3/synth/Songe d'autrefois for cello and piano synth.mp3
Souvenir de tendresse: légende
Published in 1919, a contemporary review called it "a most seductive work, not technically difficult, but free from triviality. It will please the most fastidious."
K's original metronome was crotchet= 76, but a later version has 100. The orchestral realisations are available at these two basic speeds, click here.
Faster. http://www.albertketelbey.org.uk/mp3/synth/Souvenir de tendresse for orch faster sync.mp3
Slower. http://www.albertketelbey.org.uk/mp3/synth/Souvenir de tendresse for orch slower sync.mp3
This part-song for male voice choir was published in 1906.
Fair, fair, over the lea,
Silver-white sparkling and shining,
Where the mist creepeth,
Where the brook sleepeth,
And the pale roses are twining.
Calm, calm, over the sea
White billowed waves are gleaming
And the pale roses are dreaming.
The realisation is for wind quartet, 20% faster, with dynamics to suit the music. Listen out for the "creepy" chromatic word-painting. Click here.
http://www.albertketelbey.org.uk/mp3/synth/Starlight for wind sync.mp3
Suite romantique
An article on Ketèlbey in Radio Times 4th September 1931 p.203 says "while still at college conducted his Suite Romantique for full orchestra". However, contemporary reviews of the orchestral suite performed on 8th June 1896 give the movements as Scherzo, Elegie and Tarantella.
A Romantic Suite was performed on 14th June 1922 at Trinity College of Music by the College Orchestra conducted by the composer, reported in The Times, 15th June 1922, p.12: "Mr Ketelbey's Romantic Suite was well-constructed, light music, and he brought an experience to the conductor's desk which ensured its success."
The copyright was assigned to Bosworth on 5th October 1923, and the work was given it official "first performance" by the Bournemouth Symphony Orchestra conducted by the composer at the Winter Gardens, Bournemouth on 10th April 1924.
1. Romance (Réveil d'Amour)
The first movement opens with a quiet melody followed by an episodical section which works up to a passionate climax. After a mild expression of diffidence by the lady, and reassurance by the lover, the first theme is resumed, indicating a reciprocity of feeling, and the movement ends quietly and serenely.
2. Scherzo (Pensées Troublées)
In the second movement, Scherzo, the lovers are parted, doubts and fears of impish malignity dart through their minds. The man is particularly pestered by a theme played by the L.H., which, becoming more and more insistent, is finally reinforced ff, and followed immediately by a glissando harp scale-passage and a bass-note representative of a cymbal. The movement concludes after the reappearance of the first theme with a short chromatic Coda, suggestive of the lovers' unsettled state of mind.
3. Valse Dramatique (Querelle et Reconciliation)
In the final movement, Valse Dramatique, the lovers meet at the dance, and the man's protestations of love are renewed; this becomes the theme of the waltz. A disturbance ensues, which causes a cessation of the dance. After a pause the dance is resumed softly, the bass by playing after the beat, indicating that complete order is not yet restored, while the lady chides her lover in a phrase super-imposed upon the original waltz theme, The lover responds penitently, through the medium of the melody in the L.H., and renews his love-theme even more ardently. The waltz is renewed with full vigour and a short Coda brings the Suite to a lively conclusion.
Czecho-Slovak Radio SO, Leaper
Apr 94 p.48
- Naxos 8.554709
- 1. Romance
Re-issue from 8.223442
Phillip Sear
rec.Feb 2008
Phillips Sear's version can be seen at http://www.youtube.com/watch?v=_auqyi4A7dY&feature=results_video&playnext=1&list=PL53A772D1D62389AC
Sunbeams and Butterflies: piano novelty
The copyright was first assigned to Bosworth on 19th September 1924 under the title Schmetterling = Papillons. On 30th September 1926, it was given the English title Butterfly's Frolic, as no.3 of Six Pieces by André de Basque. This was replaced by a new assignment on 1st January 1938, saying that the work had been issued under the title Sunbeams and Butterflies. On stylistic grounds it is likely that the original Schmetterling lacked the 14-bar introduction, and was perhaps scored without the solo piano.
Piano with orchestra
Monia Liter, London Palladium O, Greenwood
HMV C 3024
2EA 6514
[Aug 38] rec.June 38
Aug 38 p.118
- Victor 36372
[ca.1940?]
- Pearl GEMM CD 9968
BL, PD, TM
- 1DCD 7
VLM Winter 98
- Evergreen Melodies C 62
Piano with dance band
Elite Novelty O
Bosworth BC 1062
[Jan 39]
Apr 39 p.480
WC, (TM CD)
- Guild GLCD 5216
Monia Liter varies one string of straight crotchet chords by arpeggiating them.
The Elite Novelty Orchestra seems to consist of piano, violin, 2 saxophones, trumpet, double bass and drums, and the accompaniment is much reduced. The main section is taken with much rubato, but at average speed of dotted crotchet = 108, faster than the published metronome of 92.
A Sunday Afternoon Reverie: an appreciation of the Decca Sunday Radio Concerts
Could this be the first purpose-composed signature tune, with its melodic material constructed on the letters D E C C A? The sheet music was never published.
Westminster Light SO
Decca K 604
GA 3288
[Nov 31] rec. Sept 31
Nov 31 p.227
BL, TM
BL, NX, TM
The recording only lasts 3' 05", which was very poor value for a whole side of a 12 inch 78! Peter Dempsey says the conductor is Claude Ivy. It can be heard at http://www.youtube.com/watch?v=GGBbkCG93DY
Sunset Glow: rêverie (tone picture)
Silver Stars Band, Ketèlbey
[Mar 26] rec.Nov.25
Silver Stars Band, Raybould
Regal G 8526R
WA 5648-1
rec.13.6.27
Trevor Workman
Bournville Carillon BC000005
TM, PD
To hear Berry's realisation of the orchestral version, click here http://www.albertketelbey.org.uk/mp3/synth/Sunset Glow orch synth.mp3
The recording by Workman uses his own arrangement, and was made at a live performance on Bournville Carillon, Birmingham, on 9th August 2003
Ketèlbey makes 3 cuts totalling 28 bars, but no significant material is lost. The speed of his opening section is crotchet = 75, faster than the published metronome of 69. Rosemary Tuck's subtle rubato averages at crotchet = 61. Trevor Workman has the same speed as the Ketèlbey, but with even more rubato.
Sweet Hope: waltz, by "Raoul Clifford"
A simple waltz for mandolin, with either piano or guitar accompaniment, and an optional second mandolin.
The realisation adds mandolin tremolo on long notes, and rotates the accompaniment. Click here to hear it.
http://www.albertketelbey.org.uk/mp3/synth/Sweet hope for mand ens sync.mp3
Sweet Louisiana: valse
This is one of three slow waltzes dating from 1916-20 which were obviously written for use in the ballroom.
?not issued
Kenneth Boulton
Cambria CAMCD-1171
Markus Staab
Staab's performance can be seen at https://www.youtube.com/watch?v=aTm3Cjg6gWY
The Columbia recording was announced as "available shortly" in Musical Opinion Jan 21, but no further details have been found.
Lucky for us, the title fitted in with a programme of music linked to Louisiana planned by Boulton. The music seems to have no other connection with that state.
The Swiss Dancing Doll
This piece the composer's last published work, dating from 1958. The orchestral arrangement is by Frank Naylor.
Continental Theatre O, Buchold
Bosworth BCV 1328
CTP 18495
Continental Theatre O, Mattes
BOS 390
- Bosworth BOCD 162
To hear Berry's realisation, click here http://www.albertketelbey.org.uk/mp3/synth/Swiss Dancing Doll orchsynth.mp3
Even though the transfer on BOCD 162 lasts only 1' 29", the 80-bar piece is cut twice, by a total of 12 bars. There is a bad tape join after one cut – did something go wrong in the missing 4 bars, that they needed physically excising?
According to Mike Durbridge, the nephew of Ketèlbey's second wife Mabel, the piece was inspired by a musical box which Mike had made for his aunt.
McCanna's realisation is based on the composer's own short arrangement for musical box, and can be heard at http://www.albertketelbey.org.uk/mp3/synth/Swiss dancing doll for celesta sync.mp3
Webpage last updated 8 July 2019