United Kingdom “The Loders of Bath” Lunchtime recital: Singers: Catherine Chapman, Matthew Bawden, Hannah Morley; Flautist: Eleanor Emery; Accompanists: Liz Kozlowski, Charles Wiffen; Director: Charles Wiffen, The Picture Gallery, Holburne Museum, Bathwick, Bath, England 15.10.15 (RJW)
J D Loder: Heave one sigh for me
E J Loder: Oh, there’s a soft and gentle hour
E J Loder: Invocation to the Deep
E J Loder: Dearest, sing once more
E J Loder: Sigh no longer
E J Loder: Sonata for Flute and Piano
This event was a component of the University of Bath’s ‘Study Day’ held in celebration of the Loder family of Bath to illustrate the music and culture in provincial Britain in the 19th century. Appropriately held in the magnificent Georgian Holburne Museum the recital comprised songs, ballads, duet and a sonata, representative of the compositional skills of this forgotten composer.
Edward Loder came from a family with an extended musical background. His father, John David Loder (1788-46) was a violinist influenced by Paganini (whom he met through his connection with the Royal Academy of Music), an orchestral leader and ran a music warehouse in Milsom Street, Bath. One of his songs was included in the recital for comparison with songs and ballads of his son, Edward James Loder (1809-53) who studied under Ries in Frankfurt. This background provided secure training and provided him with the ability to write confidently music of lasting appeal.
The pieces played were found to be delightfully melodious and well constructed, and often carried pleasing end-of-line decoration. The voices of Catherine Chapman, Hannah Morley and Mathew Bawden were charming and of high calibre. The recital was attended by delegates of the Study Day and general Museum visitors wishing to hear this rare music. The singing was confident and the room’s acoustic added warmth to the performance.
Edward Loder’s Sonata for Flute and Piano provided added interest and in addition allowed observation of his style when scoring for a solo instrument. His prolific output included many ballads, chamber works and large-scale orchestral music. The undated pieces played are likely to have been written between 1830 and 1850, and it seems likely that the sonata might have been composed after 1846 since a recognizable phrase in the First movement echoes one found in W V Wallace’s Maritana overture (1845).