Butterworth & Holst Orchestral Works (CD Review)

by Ryan Ross

George Butterworth: A Shropshire Lad; The Banks of the Green Willow; Two English Idylls. Holst: Egdon Heath, Op. 47; Two Songs without Words, Op. 22; A Fugal Concerto, Op. 40, No. 2; St. Paul’s Suite Op. 29, No. 2. Andrew Manze, conductor; Royal Liverpool Philharmonic Orchestra. Onyx 4258 

George Butterworth (1885-1916) is one of music history’s great “What Ifs.” Before he was struck down during World War I’s Battle of the Somme at the age of 31, he had already produced a body of work showing rich personality and promise. For perspective, had Beethoven died at 31, we would have his First Period of compositions and no more. Had Rameau and Janáček perished at the same juncture, we would now see them as minor figures. Almost the same is true of Butterworth’s friend Ralph Vaughan Williams. Granted, luminaries like Mozart and Schubert established their mature greatness by this point, but they are outliers. Based on what Butterworth managed to produce, there is every reason to suspect continued quality and growth had he reached his elder years.

Then again, Butterworth’s small number of surviving works carry a cultural weight that might justifiably be the envy of many composers with lengthy careers behind them. For instance, in his excellent book English Diatonic Music 1887-1955 (OUP, 2025), which I just reviewed for Music & Letters, Matthew Riley shows how influential Butterworth’s Shropshire Lad songs were for a whole generation of English song composers. (He discusses how the “Cherry Tree” motive from Loveliest of Trees became particularly iconic for portraying the melancholy of impermanence.) That same powerful voice is present in the Butterworth orchestral compositions featured on this recording. Each of them receives excellent performances at the hands of the RLPO and Andrew Manze. If I had to differentiate them from other options in the catalogue, I might emphasize their clarity and sharp contrasts. Compare these to the rather more dreamy soundscapes of William Boughton and the English String Orchestra (Nimbus 5068), for example. I think I may slightly prefer the latter. But anyone should feel well served by both.

The Holst interpretations that follow are if anything even more superb. The Two Songs and the Fugal Concerto exude precision and polish, and I have little more to say about them here. It is the present Egdon Heath and St. Paul’s Suite that made me really sit up and take notice. Previously, my go-to recording for the former was David Lloyd-Jones and the Royal Scottish National Orchestra (Naxos 8.553696). And it’s still a great one. But Manze’s more deliberate tempo and his delicate treatment of sounds and textures just bring out this work’s special moods all the more. It’s a satisfyingly atmospheric, often creepy experience. Then there’s a wonderful St. Paul’s Suite. For my money, this is the best thing Holst composed after The Planets. He didn’t always demonstrate a strong musical personality, but the pieces in this set sure do. Manze wisely doesn’t tinker them to death, and instead lets their vivid tunes, rhythms, and colors sparkle appreciatingly. English music at its finest.

If I have a quibble here, it concerns the packaging. The CD cover art and production are beautiful. The liner notes by Lewis Foreman are terrific, as usual. But I shouldn’t have to rip through the plastic wrapping, open the CD case, pull the booklet out, and look inside of it, all just to see a track listing. This should be shown through the back of the case, like you find with most other companies’ recordings. Here instead we merely have the names of the performers and the works performed given there. I have no idea why this is so, and I’d rather not speculate. But Onyx would be well advised to show their customers goodwill by reverting to the norm. That aside, this release is a winner. Fans of British music will certainly want it, and I happily prescribe it to anyone else as well.