I have said
this before, but it bears repeating: it is hard to imagine that a quarter a
century ago there was virtually no music by William Alwyn in the record
catalogues. The Lyrita symphonies were an honourable exception. Then, in the
‘nineties there was the Chandos series. And now Naxos is getting close to
finishing their release of the largely complete orchestral music. I guess the
added value of this particular cycle is that Naxos have discovered a number of
works that were deemed to be lost. The present CD includes two orchestral (or
is it three?) premieres alongside three (or is it two?) works that are less
well known, but deserving of greater exposure.
The
earliest piece on this CD is the Serenade which was written in 1936 although
it appears that it was never performed in the composer’s lifetime. Certainly
this not a pastoral ‘English’ serenade, in fact, it was Ravel who sprang to
mind when I first heard it.
The work is
in four contrasting movements. It begins with a Prelude which opens from a
little trumpet motive into something expansive, especially for a movement that
lasts just over two minutes. The second movement is a ‘Bacchanal’ which is
really an attractive little scherzo. There is a good part for flute solo, that
depicts ‘a piping faun leading a rout of naked nymphs and satyrs.’ Once again,
this develops into huge climaxes in the space of a few seconds. The ‘Air’ is
written for muted strings only. It is based on an elitist quotation from
Nietzsche’s Thus Spake
Zarathustra, ‘...beauty’s voice speaketh gently: it appealleth only to the
most awakened souls.’ The finale has ‘Home thoughts from Abroad’ written at the
head of the score. Does this refer to Browning’s poem, or is it more personal?
The resulting music is a little bit ‘folksy’, but can been seen as nodding
towards Dvorak- even down to the 'Hovis’ music impression at the midpoint.
Taken in
the round, this is not really a consistent piece. My main criticism is that
there is an immense amount of ‘potential ‘in the varied material generated by
the composer for this work, yet it is only some eleven minutes long. It seems
that Alwyn has wasted so many good ideas and has tricked the listener into
expecting something larger and more profound. However, it is good have at least
one recording of it for the ‘record’.
In 1923
Alwyn had selected a number tunes from the Petrie
Collection of Irish Music and
produced as set of Seven
Irish Tunes for string
quartet. In 1936 he chose to arrange most of them for small orchestra. The
tunes are ‘The Little Red Lark’, ‘Country Tune,’ ‘The Maiden Ray,’ Reel: ‘The
Ewe with the Crooked Horn,’ ‘The Gentle Maiden,’ ‘The Sigh’ and a ‘Jig’. I have
not heard the string quartet arrangements of these tunes; however the present
orchestral version works very well. It shows that the thirty-one year old
composer had a fine ear for orchestral colouring. It was an accomplishment that
would stand him good stead, especially with his interest in writing film
scores. These pieces are receiving their first recording.
I have
known the brass-band version of The
Moor of Venice since Chandos
released ‘Brass from the Masters Volume 1’ back in 1997. Four years later,
Philip Lane arranged this piece for full orchestra: the original work was
written in 1956 as a BBC Light Programme commission. The idea behind the piece
is a compression of the ‘plot’ of Shakespeare’s Othello. This is an attractive
work that has the feel of a film score about it; however, it is not really a
piece of ‘light’ music as suggested from the original commission. I enjoyed the
orchestral version, but am not quite sure why it was/is necessary? The brass
band incarnation seems to serve its purpose perfectly well. And I guess that it
is more likely to be performed in that format rather than full orchestra.
The main
events on this CD are the second and third Concerti Grosso. Naxos has already
recorded the first of the series on 8.570704.
The
Concerto Grosso No.2 was composed in 1948 and is dedicated to Muir Mathieson.
This dedication is appropriate for two reasons: Mathieson was the conductor of
many of William Alywn’s film scores and, secondly, there is a definite ‘film
music’ feel to some, but not all, of this work.
This
Concerto Grosso is scored for a string quartet group with a full string
orchestra, although only the first fiddle of the ‘concertino’ seems to have an
involved part. It certainly nods to Handel on a number occasions even if it is
not a pastiche. The opening and closing movements are lively and cheerful
however I enjoyed the second movement best which is more complex and profound
and has been likened to a ‘Homage to Dvorak’. It is truly lovely music. The
quality of the scoring is impressive, although the string quartet part is
hardly virtuosic (as composed by Alwyn, not as played!). There is a good
contrast between the 'straightforward’ themes and their ‘vigorous elaboration.’
The
Concerto Grosso No.2 was premiered at the Royal Albert Hall on 7 May 1950: Sir
Malcolm Sargent conducted the London Symphony Orchestra.
The
Concerto Grosso No.3 is the masterpiece on this CD. In fact, I
think it is one of William Alwyn’s most accomplished works. The score was
completed at Blythburgh in 1964. It is important, to realise that it was a BBC
commission to mark the twentieth anniversary of the death of Sir Henry Wood
(1869-1944). Alwyn has written that ‘throughout the years between the wars Sir
Henry Wood was the focus of my musical world. I played on his orchestras and he
performed my music – the first at a Prom in 1927.’ It is a genuine tribute from
a grateful composer.
In this
work there is no use made of the ‘concertino’ group of soloists that is so
characteristic of the ‘classical’ concerto grosso form. In this work the three sections
of the orchestra interplay with each other. However in the first movement the
brass dominates, in the second it is the woodwind and finally in the last is it
the strings turn to take the lead.
However, if
the listener thinks that this Concerto Grosso is going to be a ‘po-faced’ elegy
to the great man, then they are hugely mistaken. In fact, Alwyn has suggested
that it is largely written on ‘broad vigorous lines’ rather than in a
ruminative style. However, the final movement is heart-renderingly beautiful,
without being morbid. It is a fitting and ultimately optimistic tribute to one
of the greatest figures in British music.
I enjoyed
this CD, especially the Concerti Grosso. However I do feel that the other
works, although interesting, are not essential. Nevertheless, they will be part
of every William Alywn enthusiast’s collection and will allow scholars and
listeners to gain a wider understanding of the composer’s art.
The sound
quality of this disc is excellent, especially so in the concertos. I enjoyed
the crisp performances and I was very impressed with the liner notes by Andrew
Knowles: they are informative and comprehensive.
As to the
future, I do hope that Naxos will issued the Manchester Suite, the school
orchestra music and the Coronation March (if these scores are available). Apart
from those pieces, I guess that most of Alwyn’s orchestral works are now
available on CD. This is a magnificent achievement that I could never have
imagined in my wildest dreams some 40 years ago.
Track
Listing:-
William
ALWYN (1905-1985)
Dramatic
Overture: ‘The Moor of Venice’ (orch. Philip Lane) (1956; 2001)
Concerto
Grosso No.2 (1948) Serenade (1932) Seven Irish Tunes –Suite for Small Orchestra
(1936) Concerto Grosso No.3 (1964)
Royal
Liverpool Philharmonic Orchestra/David Lloyd-Jones
NAXOS
8.570145
With thanks
to MusicWeb International where this review first appeared.
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