Consistently Exhilarating
GERALD FENECH strongly recommends organ and choral music by English composer Herbert Howells
'... as virtuosic as one could wish for.'
The poetry of the Psalms was a powerful creative stimulus throughout the life of Herbert Howells (1892-1983). Despite his lack of faith, the emotional depth of what he referred to as 'immemorial prose' spoke to him vividly, and he revelled in the sense that the words had been providing comfort for centuries, connecting us with all humanity across time. For some, his psalm-based works matched the man himself: the intensity, the passion and the holding of pain beneath the surface, in a peculiarly English fashion.
During lessons with composition students, Howells loved to read the texts aloud, pondering, as an actor might, all the different ways in which the language might be interpreted. These dramatic responses are at the heart of his music. Psalm texts were the basis for many of his most celebrated choral works and his way of composing was rather weird. He liked to tell the story of writing the hymn tune with his son, and one morning when both were on the breakfast table, Howells composed 'Michael' (All my hope on God is founded). All of his psalm chants were conceived in similar circumstances - written at speed whilst engaged in something else.
Several of the chants here were originally written on the back of used envelopes and given straight to friends - he made no effort to retain them. Within Anglican-chanted psalmody we experience the hypnotic effect in the repetition of the chant which establishes the overall mood, adding a layer of commentary to the text without encroaching on the natural rhythm of the poetry which Howells adored.
Listen — Herbert Howells: Psalm 34
(REGCD 586 track 2, 0:01-0:37) ℗ 2025 Regent Records :
Of course silence plays a big part in this, and much of Howells' characteristic style lies in how he wrote for large cathedral acoustics, exploiting and reinforcing the sense of space that is often present. Indeed, Howells was an exponent of the so-called English musical Renaissance, a historical period between the end of the nineteenth century and the beginning of the twentieth, which saw composers such as Vaughan Williams, Holst and Stanford engaged in charting a new path in English music. This was a path marked by tradition and, at the same time, by a freer use of musical language in which composers strived to find new ways of using the tonal and modal system, thus succeeding in creating a style that was framed in tradition but, at the same time, original and immediately recognizable.
Howells' organ works, spanning a range of styles and moods, showcase his profound understanding of the instrument's capabilities. His compositions often intertwine rich harmonies, intricate counterpoint and a deep sense of spirituality, reflecting both his personal experiences and the broader cultural context of his time.
Listen — Herbert Howells: Master Tallis's Testament)
(REGCD 586 track 1, 2:04-2:58) ℗ 2025 Regent Records :
This very fine recording is a unique project combining the six Psalm Preludes for solo organ, preceded by the six Psalms which inspired them. The Psalms are sung to ten chants by Howells, several of which are receiving their first recording.
Listen — Herbert Howells: Psalm 33
(REGCD 586 track 12, 0:01-0:50) ℗ 2025 Regent Records :
Performances, by David Hill on Durham Cathedral Organ and the Choir of Durham Cathedral directed by Daniel Cook, are absolutely riveting, and the playing and singing are as virtuosic as one could wish for.
Listen — Herbert Howells: Psalm Prelude, Set 2 No 3
(REGCD 586 track 13, 6:25-7:20) ℗ 2025 Regent Records :
This is consistently exhilarating and a superb addition to the Howells catalogue that should arouse more interest in this composer's music. Inspiring stuff, in overgenerous playing time, superb sonics and eye-catching presentation. Strongly recommended, especially for Howells admirers.
Copyright © 26 May 2025
Gerald Fenech,
Gzira, Malta
