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<< -- 6 -- Adrian Williams JOHN RUSSELL FRCM (1916-1990)
John had, in his possession, the original manuscript of Finzi's Eclogue, in two piano
version, as it was intended, to be the slow movement of a piano concerto. As I pored over this
treasure, I felt an almost unbearable closeness to a time I never knew, a time between the two
world wars when Finzi was working in Gloucestershire, maybe at Chosen 'where westward falls the
hill'. Together with this gem were collected the original of a hitherto undiscovered 'Lullaby'
(Greek Folk Song) for SATB unaccompanied, and some scribblings and a letter by Vaughan Williams
about the double bass parts of his Sea Symphony which John had performed with the
Newbury Choral Society one year. Sometime in the seventies I took the manuscript of the
Eclogue on one
of the Welsh border holidays, so I could be near it and near my spiritual home at one time! The
manuscripts are now safe in the British Library.
John told me the story of the Grand Fantasia and Toccata, mentioned in his note earlier;
how he'd discovered the manuscript of the 'Grand Fantasia' and the slow movement (later to become
the Eclogue), both parts of the unfinished concerto, in Gerald's house whilst on a visit.
It turned out that these had been written many years before and were simply gathering dust. It was Russell's suggestion that Finzi wrote a Toccata to go with the Grand Fantasia, and as the Grand Fantasia and Toccata John premièred it as soloist in London in 1953. Needless to say we bashed through it both ways on the two pianos of the westward-facing lounge at Ben's Folly, first me as the orchestra on the soft-toned upright Broadwood, John clattering away his broken octaves, spluttering at the mistakes. Then, the Eclogue, charming, simple, John with cigarette between his lips, an emotional silhouette against the golden light of the south-facing window.
'Eclogue'
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There came a time at the end of my first year with John Russell (1977), when my pianistic ability was put to the test. To my utter astonishment I managed to get through to the final round of the Chappel Gold Medal competition at the RCM. 'They didn't like you best' grunted John with a wag of his finger and a twinkle in his eye. I had already booked my holiday ... that went by the board, now I had to get down to it. There were only three weeks and I had prepared nothing for a 50 minute recital. But here was my chance to do anything I liked, so I submitted an entirely English programme which John thought completely 'mad'. Rawsthorne's Bagatelles, Tippett's Sonata no.2, Ireland's Amberley Wild Brooks and April, Bax's Sonata No 4 and Grainger's Country Gardens and Shepherd's Hey. Of course in the eyes of most pianists it would be considered madness, but I've never been one for conforming to taste or convention. I loved English music and felt it was still neglected. It was a tall order to memorise from scratch this type of programme to recital level in three weeks. Especially with hostile neighbours; my parents and I lived in a typical suburban semi-detached house, and a small one at that. Our twin neighbours were understandably irritated by my hours of piano practise, especially when the master of the house was on night work and slept until mid afternoon. It would have been a disaster, but for John and Margaret.
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Copyright © 14 September 2003
Adrian Williams, Herefordshire UK
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