Dutton Vocalion followed up that release with a recording of
Brian’s Symphony No. 13 coupled with the Violin Concerto, Tinkers Wedding:
Comedy Overture and English Suite No.4.
Of Brian’s thirty two symphonies there are still a number yet
to be recorded. As I noted in that March 2012 blog, Lyrita Recorded Edition www.lyrita.co.uk made a start back in 1975
by recording No’s. 6 and 16. EMI www.emiclassics.com
later recorded 7, 8, 9 and 31 and, in
1988, Hyperion recorded No.3, but it was Naxos www.naxos.com
that made the first real attempt at
recording all of the symphonies.
So far Naxos have recorded Symphonies No.1 ‘The Gothic’
(8.557418/19), No.2 (8.570506), No.4 and 12 (8.570308), No’s. 11 and 15
(8.572014), No’s. 17 and 32 (8.572020) and No’s. 20 and 25 (8.572641).
Naxos has now
released Brian’s Symphonies No. 22, 23 and 24 coupled with the English Suite
No.1, with the New Russia State Symphony Orchestra conducted by Alexander
Walker www.alexanderwalker.org.uk
. This new release avoids duplication of any of the symphonies. The fact that
all these recent releases avoid duplication is something for which we must be grateful
to both Dutton and Naxos. This means that it is now possible to obtain
recordings of 24 of the 32 symphonies (though the EMI recordings are currently unavailable
but obtainable second-hand through Amazon).
8.572833 |
The first movement of
Symphony No.22 ‘Symphonia Brevis (1964/65), marked Maestoso e ritmico, opens with a
dramatic outburst complete with bass drums and the orchestra in full flow, in
this typically Brian flowing and shifting melody. The music eventually settles,
briefly, on a quieter nostalgic theme but soon takes off again with music that
ranges from quiet, delicate passages to faster flowing passages, ending with
massive orchestral sounds. The Tempo di
Marcia e ritmico opens quietly and tentatively, slowly moving forward with
heavy bass brass and percussion, slowly growing louder.
There is an orchestral transparency despite the amount going
on in the orchestra. The music quietens with a central passage for solo violin and
orchestra, before an outburst for full orchestra, reminiscent of the opening of
the work. All suddenly quietens, becoming soft and still before the coda
arrives with outbursts from the orchestra heralded by timpani strokes.
The moderato of
Brian’s Symphony No.23 (1965) opens
with timpani before the orchestra builds, with percussion, in music that is
quite wild. Eventually the music slows and quietens before a return of the louder
percussive orchestra. This movement is volatile throughout, with quieter flowing
melodies with delicate harp and percussion, swirling woodwind and a solo violin
with cello creating a sense of mystery. Yet the full orchestra soon returns, with
more percussion and, after another quiet section, soon builds, with a battery
of percussion and brass, suddenly cut off to give a quiet end, though the percussion
still quietly make themselves known.
In the Adagio non
troppo ma pesante the orchestra enters in full flow with string basses
underlining the rhythm. This upward motif continues with another battery of
percussion before levelling off with a softer string melody. There is a lovely
section for flute and woodwind and solo violin with pizzicato strings. A plaintive
oboe appears against a bassoon and orchestra before the music tries to build again
but quietens, though the tension is still there as though the march will break
out again, which it does, slowly pushing
forward underlined by percussion. The music again quietens but soon gains in
momentum and decibels as the orchestra once again rises with percussion to a
grand climax.
Whilst Symphonies 22 and 23 both have two movements, Symphony No.24 in D major (1965),
though longer than its predecessors, is in one movement marked Allegro –
Allegro – Maestoso e marcato molto – Adagio. Timpani open the work before the orchestra
enters, again in full flight. There is a sudden halt before a quieter section,
a flowing theme based on the opening. The music soon picks up, again with
percussion, before quietening suddenly in a calmer flowing theme. Throughout
there is an alternation of dynamic music with quieter gentle music, at times in
extended passages. Halfway through, a particularly gentle passage leads to a
section for bassoon with various brass and woodwind instruments before the rest
of the orchestra joins with delicate percussion. The orchestra again grows
louder in a fanfare like motif before slowly falling to the low brass. The
final adagio brings a quiet, wistful, reflective orchestral section that gently
flows, giving a sense of resolution. Some of Brian’s most beautiful music leads
on towards the coda, with the orchestra rising for a forthright ending.
Following the three symphonies on this disc is Brian’s English Suite No.1, Op.12 (1905/06). In
six movements, the first, Characteristic
March, opens with martial sounds before woodwind take over in an attractive
little march. This eventually develops into a more flowing march section. The martial
feel of the opening theme combines with the broader flowing march in a slightly
varied version, as the music builds, leading to a grand climax.
Woodwind open the second movement before strings bring a
flow in this slightly syncopated Waltz.
Brass play over a clarinet before the full orchestra develops variations on the
waltz theme. Always there is that syncopated feel projecting the music forward.
A quieter, more flowing section follows with a lovely woodwind melody. Whilst
the music again quickens, it soon slows to bring a quiet transition to the next
movement.
Under the Beech Tree
gently flows on, stretching the previous theme to an expansive melody that
rises several times to gentle climaxes. There is a delicate central section
with percussion sounds before the music rises slowly in waves, only to end quietly.
Interlude is an
elusive movement opening with percussion, harp and strings before a flute motif
brings an unusual section with various instruments joining in. The opening
sounds return leading to a sudden end, with a little flourish.
Brass intone the opening of Hymn, before a string middle section that pulls the music upwards,
emotionally, before dropping to a brass motif to bring a solemn end. See if you
can spot the elusion to a theme from Dvorak’s Ninth Symphony.
To end this work there is a boisterous Carnival, again with a slightly Dvorakian feel at the beginning,
but soon developing with faster passages
and some odd variations, some lively, some gently melodic, including God Save
the King. There is a riotous coda.
Every symphony on this well recorded disc is extremely
rewarding and the performances from Alexander Walker and the New Russia State
Symphony Orchestra are excellent. I hope that it will not be too long before my
long held goal of having every one of Havergal Brian’s distinctive symphonies
on disc is achieved.
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