Diversions for Solo Cello and String Orchestra

Programme-note by the composer:

‘Diversions’ was originally conceived as a suite for cello and piano as far back as 1973. In 1984 the great French cellist Maurice Gendron encouraged the composer to rework the piece for cello and symphony orchestra, and he himself edited the cello part. The first performance of the work in this orchestral form was given by Steven Isserlis and The Royal Philharmonic Orchestra conducted by Sir Charles Groves at The Fairfield Halls Croydon on 29th March 1989. Soon after this a transcription for cello and piano was made by the composer. 

A new lease of life was given to the work in November 2010 when the brilliant young German cellist, Benedict Kloeckner, accompanied by Spanish pianist Jose Gallardo, won the penultimate round of the EBU Young Artists Competition in Bratislava, which led to Benedict also playing the Elgar Concerto and winning the entire contest. To celebrate the event Howard transcribed his violin sonata for cello and piano and in the following Spring assembled an entire recital of cello and piano music for Benedict, which the two of them performed in concert in the Historisches Cafehalle in Schlangenbad near Mainz on May 8th 2011. The recital consisted of Pennillion, Diversions, Jazz Dances, Cello Sonata, and included a new cello and piano transcription of Howard Blake’s famous song ‘Walking in the Air’.

Since 2010 Benedict Kloeckner has given many performances of the work with piano, both with the composer and other prominent pianists. Subsequently however the suggestion was made that a version for string orchestra could be a wonderful addition to the repertoire and such a transcription has now been made by the composer for this evening’s premiere performance.

The work pays mischievous homage to instrumental suites of the past. The Scherzo is not quite a scherzo, the March more than a march. The Waltz has a wrong-stepping jazz tinge to it, the Aria a sudden profundity. The Serenade bursts into arrogant display, the guitar-like Sarabande becomes an eloquent cadenza. We are led back to the theme of the Prelude via a Finale of such bristling virtuosic energy that its simple melodic line assumes a far more complex character – having been well and truly ‘diverted’.