York Bowen
(1884-1961)
 The
prodigious gifts of York Bowen were widely recognised when, at the
age of 19, he was invited to play his First Piano Concerto at the
Proms under the baton of Henry Wood. His
skills as a performer continued to draw praise till the end of a
long career as soloist, accompanist, teacher and adjudicator. In
contrast, his compositions were unjustly disregarded even during
his own lifetime, on account of his unequivocally romantic style
that was at odds with the many changes of twentieth-century musical
fashion.
With hindsight, and the aid of fine modern recordings, opinions
have changed. Like his near-contemporary the Russian Nikolay Metner,
Bowen is now recognised without prejudice as an heir to the great
tradition of nineteenth-century pianist-composers, and his music
admired for its exquisite craftsmanship and refined sensibility.
Quality is never sacrificed to display, however brilliant its virtuosity;
and its range of expression – from gaiety and good humour
to mystery and pathos – is characteristically English in its
idyllic conception, unclouded by introspection.
Bowen’s insights into keyboard playing are enshrined in The
Simplicity of Piano Technique, a still influential essay by
one of Tobias Matthay’s outstanding students. As a song-writer
and composer of chamber music, his legacy awaits reassessment within
a larger picture that year on year is moving towards a more balanced
and complete appraisal.
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