Wellington Suite
A light-hearted, cleverly-written and attractive work in five movements, written for two solo horns, solo piano, strings, timpani and percussion. It was commissioned by Wellington College for its centenary celebrations, 1959, and was given its first performance at the College in June of that year, conducted by the composer.
This work was included in a CD produced and recorded by Lyrita during Covid times. Can be downloaded and streamed from all platforms.
Smaller concertos for piano and modest orchestral forces were a feature of British composition in the first half of the 20th century. Often they were written for a special occasion, and typically vanished into oblivion thereafter. During the COVID period Lyrita were looking for things to record with small numbers of players, and stumbled across this treasury: short concertos written for entertainment that don’t outstay their welcome. The works on British Piano Concertos (Vol. 1) CD travel from the innocent pastiche of Geoffrey Bush’s tribute to Arne, Edmund Rubbra’s student essay, through the ‘Blues’ of Arthur Benjamin, the serial language of Humphrey Searle, the drama of Elizabeth Maconchy, and the bold humour of film composer John Addison. It is all great fun, and has never been recorded - apart from the Benjamin recorded just once, back in 1959. Simon Callaghan and Martyn Brabbins team-up to raise a smile, enjoying the lighter side of musical life.
Ballet Suite Carte Blanche
Carte Blanche was commissioned by the Sadler’s Wells Theatre Ballet and was first performed at the 1953 Edinburgh Festival. It is a “divertissement” of a highly entertaining nature with no connected story. The choreography was by Walter Gore. Due to the success of the ballet, the composer arranged a Suite of five movements for the concert hall and this work was first publicly performed, with the composer conducting the BBC Orchestra, at the 1956 London Proms Concerts after which it was performed regularly under many well-know conductors, including Leopold Stokowsky and Sir Thomas Beecham who recorded it with the Pro Arte Orchestra.
Press Notices
“John Addison’s concert suite from “Carte Blanche” Ballet was given, at Saturday night’s Prom, its first public performance. It has wit, colour, style, and should sustain itself as a platform piece. The “Carte Blanche” score is trim and clear, and the points are sparklingly made. Addison conducted, and showed a sure touch in presenting his music too.” - Daily Mail, London, August 13, 1956
“The sophisticated high spirits of John Addison’s cleverly scored ballet Suite, “Carte Blanche”, made an immediate appeal to these young players, and they also attacked tremendous gusto. Butterworth’s pastel-coloured “The Banks of Green Willow” found them almost, but not quite, as successful with finer nuances of expression.” - Prize Day at R.C.M. - Music by Some Former Students
“Carte Blanche” proved delightful music, unpretentiously melodious and, apart from some thickness in the bacchanale, scored with a sure touch and considerable ingenuity and wit. The score has been published by the Oxford university Press and will, I doubt not, be much in demand as a light-weight addition to a popular programme.” Extract from Listener, London, August 16, 1956
“John Addison is one of the outstanding film music composers of the younger generation whose “serious” output is small and certainly not widely known. This suite is taken from a ballet commissioned by Sadler’s Wells Theatre Ballet in 1953. Obviously possessing the technical resources of a serious composer, his predilection so far appears to be for “light-weight” texture and content. He is certainly the only composer I know whose obvious influence by Britten, occasionally to the extent of direct borrowing of a textural idea, appears to be both healthy and beneficial. Curiously enough, the process seems also to have worked the other way, for some of the extrovert moments in Britten’s masterly “Prince of the Pagodas” are texturally nearer “Carte Blanche” than anything else I can think of - and what higher compliment could I invent?
The extensive practical experience of working in films has enabled Mr. Addison to develop into a better and more fully equipped composer technically than most of his more solemn contemporaries. I find the quality of his music high enough to foster the hope that he will not play the penalty, albeit a financially pleasant one, of having his best ideas swallowed into the moratorium of the sound track, no less dead than if they end, as the best musical ideas often do, on cutting room floor.” - Record News, London, June 1958
“Addison’s gay, not to say frivolous, ballet suite came as a relief. Its point, humour, economical scoring and glamorous tune delighted the audience, who, it was clear, would gladly have heard it all over again. Sir Thomas, it need scarcely be said, extracted from it every ounce of fun; and one hopes he was pleased with the reception given to this, the first work he has chosen for performance from the list submitted to him, at his request, by the Composer’s Guild. “ - The Musical Times, London, January 1960
Concertino for Orchestra
Composer’s Notes
I wrote this work as a vehicle for Sage City Orchestra to demonstrate its skills and have some fun in the process! The opening of the first movement, Prelude, which has a baroque flavour, is followed by lyrical passages featuring woodwind soloists. The second movement is a Passacaglia which is interrupted by a jaunty march theme. The third movement, Canzonetta, is in ternary form, the first melody being marked “dolce”. The last movement is a Rondo with a lively principal theme and two subsidiary themes, of which the first is based on a rhythmical ostinato figure where the timpani are prominent, and the second is of a more lyrical character.
John Addison
Press Notices
“The piece reflects Addison’s gift for writing visually descriptive music. Throughout, it maintained a warm and capricious tone which readily conjured whimsical visual images. The concertino also reflected Addison’s gift for instrumental interplay, as meandering themes wove their way from one orchestral section to another.
Addison’s harmonies are distinctly contemporary, but undeniably accessible, warm and eminently enjoyable to listen to. A lovely, quite romantic theme in the third movement, which started with the flutes and wound its way throughout the orchestra, was a tuneful highlight of the piece, performed with great warmth and elegance.” - Arts & Entertainment, October 7, 1993
Concertino for Bassoon and Orchestra
Composer’s Notes
“Though my Bassoon Concertino starts with the solo instrument playing unaccompanied in a rather plaintive vein, it is an intentionally lightweight piece in four short movements which was fun to compose.”
John Addison
Press Notices
“This twelve minute work was written at the suggestion of June Emerson to fill a need in the bassoonists repertoire for a companion piece to the established Weber and Mozart concertos. It was premiered by Graham Savage and the Halle Orchestra in 1998. There are four contrasted movements within which there are numerous changes of pace. There are contrasts from thoughtfulness to humour and it is valuable asset to the repertoire. The piano reduction by Robert Scott works very well although it cannot hope to recreate the depth and wit of the orchestration.” - Winds Magazine Summer 2000
Three Terpsichorean Studies
These studies constitute a suite of dances, brilliant in effect, and of immediate appeal. The first performance was conducted by Richard Austin at the Royal College of Music in March 1949. The first broadcast was given by the BBC Scottish Orchestra conducted by Ian Whyte, and the first public performances took place in Edinburgh and Glasgow when the Scottish National Orchestra was conducted by Walter Susskind. Performances followed in 1953 in Leeds and Birmingham.
Press Notices :
“They are bright, entertaining, and cleverly orchestrated.” - Glasgow Evening Citizen
“… deftly scored, well contrasted in mood, and not agressive in idiom.” - Glasgow Herald
"John Addison’s “Three Terpsichorean Studies for Orchestra” have been played at the Royal College of Music and broadcast by the BBC Scottish Orchestra , but yesterday was their first public performance. At a first hearing, one was struck by the composer’s admirable command of scoring, piquant, varied and open. There was a feeling of spaciousness and air in which the individual instruments had room to manoeuvre freely.
The first of the three studies had the most striking material, vigorously expounded with a power of invention more consistently interesting than in the other two. In these the dramatic content seemed outweighed by the skill and imagination deployed in its presentation. On the showing of the spontaneity and, indeed, the attractiveness of theses studies, John Addison has a valuable contribution to make towards British composition.” - William Primrose, The Scotsman
"In his Rudolf Schwarz’s concert in the Birmingham Town Hall last night he played Three Terpsichorean Studies by John Addison, a talented and modest young composer who, although already a professor of composition at the Royal College of Music, believes, like Brahms but unlike many contemporaries that it is best to bide one’s time before tackling a symphony. So far he has practised what he preaches in a number of simply but well organized works, fairly light in character. These Studies, his op.1, written about five years ago, are already a good example, showing his gift for gay tunes of rather square cut and tongue-in-cheek humour, like certain tunes of Prokofiev and Poulene, but in this case with some acknowledgment also to “Petrushka” and for orchestration - or rather for genuine orchestral thinking, as in the middle dance, where he skilfully passes the tune continually from one instrument to another without destroying its continuity.” - Manchester Guardian, February 21, 1953
First performance of “Three Terpsichorean Studies” at the Royal College of Music
Concerto for Trumpet, Strings and Percussion
Addison wrote this work while he was at the Royal College of Music for a fellow student, David Mason, who went on to become one of London’s top trumpet players and he performed it regularly. It was originally published by Joseph Williams, Ltd.
The first performance, at the Hampton Court Serenade Concert in July 1950, scored an immediate success which was repeated on numerous occasions. It was performed in London, Birmingham, York, Cardiff, Bromley, Scarborough, etc., and received 6 broadcasts within the space of twelve months. The Lemare Orchestra, conducted by Iris Lang and with William Lang on the trumpet, gave seven performances in Yorkshire, and other conductors include Sir Adrian Boult, Jenkins, Kathleen Merritt, Alec Sherman, Gilbert Vinter, Wilhem Tausky and George Weldon. It was also performed in New York in October 1953 and recorded by the Louisville Orchestra.
Press Notices:
“… this buoyant work, with its incisive themes, its piquant rhythms, its clear textures… The trumpet is rarely idle, and the scoring for both percussion and strings, shows many felicitous touches. There is room in the world for music of this kind.” - The Times
“And if it comes to bravura with Trumpet, what more can one ask the Addison’s Concerto, most brilliantly played by David Mason.” - Dyneley Hussey, The Listener
“A stirring and ably written work… The solo part is brilliant and the orchestral writing has a fire and energy that is quite fascinating.” - Musical Opinion
“JOHN ADDISON’S ATTRACTIVE CONCERTO… In his brilliant writing for the solo instrument he makes full use of its lyrical possibilities, enhancing this quality in his electric accomplished and individual harmony.” - Colin Mason, “The Chesterian”
The Concerto was recorded by the Louisville Orchestra First Edition Records. Leon Rapier, Trumpet. Jorge Mester, conductor.
Notes about the work, by Robert McMahan:
The name of John Addison is a familiar one to devotes of the British cinema; he is a prolific composer for film with a bright and enthusiastic style unmistakably his own. It is no wonder that in his adventures with music for the concert hall there is little trace of the angst that is so much part of the contemporary composer’s stock in trade.
Important trumpet concertos are rather a rarity after the eighteenth century, but if Addison aspired to importance in his, he did not aspire at the same time to pretentiousness. The opening leaps out briskly without an introduction. For a main idea we have one of those even, diatonic melodies that English writers usually term “a swinging tune.” The second subject is based on the same sort of material (perfect fourths abound throughout the Concerto) and a fugue follows shortly. At this juncture our composer makes an interesting alteration of the traditional format of reciputalation; the cadenza is made to flow naturally out of the first subject, functioning as a bridge to the second.
In the slow movement the featured interval becomes the perfect fifth. First presented on the muted trumpet, this interval outlines a quiet fanfare, lending a picturesque air to the score. As this dream-like fantasy unfolds the listener may be surprised at the expressive power that Addison is able to extract from the medium. Dissonant and intense, the strings mount steadily towards a polytonal clash at the high point. The solo moves suddenly to a reprise of the beginning and a danger of seeming and anti-climax, but Addison cleverly fuses the characteristic intervals of the first (fourths and fifths) two movements into a new, summary idea. A great deal of syncopation adds to the impression of urban bustle, while slower interludes dissipate little of the momentum. But the best is saved for last - a ravishing passage for the strings in which the contrasting material in four independent parts accelerates to the original tempo. A rousing finish!
For additional programme notes and more - Click here
Overture, Heroum Filii
“Heroum Filii” (Sons of Heroes) is the motto of Wellington College where John Addison was educated. The Overture was written at the suggestion of the College authorities and was first given its first performance there in March 1951 when the London Symphony Orchestra was conducted by the composer.
The first London performance took place in July the same year at a Serenade Concert in the Victoria and Albert Museum given by the New London Orchestra conducted by Alec Sherman. The work received its first broadcast in the Third Programme when the conductor was Leighton Lucas.
Intended by the composer to reflect the spirit and the experiences of youth, the Overture not only abounds in the gaiety and brilliance characteristic of Addison’s scores, but also contains passages of sombre beauty and some exciting climaxes. The score does not, however, contain trombones or tuba, and therefore well-suited to small orchestras.
Press Notices:
“This Heroum is spirited, but gaunt, even ghostly in its quietest parts…” - Music Times
Original programme for “Heroum Filii”
Variations for Piano and Orchestra
Press Notices
A new work which, in view of its short duration - twelve minutes - should prove particularly useful when a solo pianist is required to appear twice in the same programme.
As in all Addison’s work, the medium is exploited with ingenuity and style. In addition to passages of lyrical charm there is some brilliantly effective bravura writing for the soloist.
New Release
September 2023 Lyrita released British Piano Concertos Volume II including three world premiere recordings: John Addison’s Variations for Piano and Orchestra along with Piano Concertos by Gordon Jacob and Edmund Rubbra, performed by Simon Callaghan (piano) and the BBC National Orchestra of Wales conducted by Stephen Bell and George Vass.
“The Variations for Piano and Orchestra by John Addison, a pupil of Jacob's at the Royal College of Music, was written in 1948 and revised the following year. According to Alan Poulton’s Dictionary-Catalog of Modern British Composers, It was first performed in a BBC broadcast in 1960 by Margaret Kitchin. The work is for a small orchestra, comprising double woodwinds, four horns, a pair each of trumpets and trombones, bass trombone, timpani, modest percussion and strings, and combines passages of lyrical charm with brilliantly effective soloistic writing.”