Author Archives: Arcana

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My name is Ben Hogwood, editor of the Arcana music site (arcana.fm)

Arcana at the Proms – Prom 5: BBC National Orchestra of Wales & Ryan Bancroft – Schoenberg & Zemlinsky

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Schoenberg Pelleas und Melisande Op.5 (1902-03)
Zemlinsky Die Seejungfrau (1902-03)

BBC National Orchestra of Wales / Ryan Bancroft

Royal Albert Hall, London
Monday 22 July 2024

reviewed by Richard Whitehouse

While the Proms has periodically resorted to re-creating concerts from its earlier years, there have been relatively few attempts to recreate groundbreaking events elsewhere – so making this replication of a programme played in Vienna on 25th January 1905 the more significant. Neither work enjoyed regular revival until the 1980s – the Schoenberg through logistics and the Zemlinsky through inaccessibility – but their expansive all-round scope, and their lavish forces, ensured that both were heard to advantage in the opulent Royal Albert Hall ambience.

It is not clear whether this running-order was that of the Vienna concert, where Schoenberg’s symphonic poem Pelleas und Melisande was lauded as the more original statement. Which is true as regards its late-Romantic idiom on the cusp of nascent Modernism, but the composer made things more difficult than they might be through his approach to form, whose outcome Busoni likened to ‘‘a number of sharp implements jostling in a sack’’. Maurice Maeterlinck’s drama may be covered in its essentials, but the challenge of channelling this into a systematic evolution make for an undeniably episodic trajectory. Ryan Bancroft succeeded admirably in holding together the sprawling whole, not least with his relatively swift (40-minute) traversal that kept the narrative aspect always in focus, while emphasizing the numerous harmonic and textural innovations. Nor was the BBC National Orchestra of Wales lacking in power, finesse or, indeed, that clarity needed to convey the density of Schoenberg’s motivic thinking, but the feeling of this work being ultimately being no more than the sum of its parts was inescapable.

Not something as could be levelled at Die Seejungfrau, Zemlinsky’s symphonic fantasy after Hans Christian Andersen that was well received if soon condemned as unduly derivative and disappeared after the score was withdrawn in 1907 – only to resurface 77 years later. It might lack the force and personality of Schoenberg, but Zemlinsky’s handling of an orchestra only slightly less extensive is comparatively effortless; the formal division into three movements of almost equal duration providing an overview of, without being beholden to the narrative, while enabling its composer’s hardly less resourceful handling of motifs to evolve with due artlessness. True, Zemlinsky’s melodic language leans more audibly on others (chief among them Tchaikovsky and Mahler), but its unforced spontaneity feels in striking contrast to the portentous, even over-wrought aspect of Schoenberg’s writing. BBCNOW responded with unfailing sensitivity, and Bancroft ensured a seamless unfolding over each movement as of the work overall. For all its stylistic derivation, Zemlinsky’s is intrinsically the better piece.

Such an outcome may not have been evident had the pieces been otherwise juxtaposed, such as only made the decision to present them thus the more worthwhile. Clearly attuned to their notably differing idioms, Bancroft brought out the best in both works (interestingly he opted to omit the ‘Sea Witch’ episode from the second movement, excised before the premiere but restored in the critical edition of 2013) – their respective qualities able to be assessed in more objective terms, now that consideration of ‘historical necessity’ has itself receded into history.

For more on this year’s festival, visit the BBC Proms website – and for more on the artists involved, click on the names to read more about the BBC National Orchestra of Wales and conductor Ryan Bancroft. Dedicated pages for the composers can be accessed by clicking on Schoenberg and Zemlinsky

Published post no.2,249 – Wednesday 24 July 2024

On Record – George Lloyd: The Piano Works – Solo & Duo (Anthony Goldstone & Caroline Clemmow, Kathryn Stott, Martin Roscoe (Lyrita)

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George Lloyd
Aubade (1971)a; Eventide (1989)a; The Road Through Samarkand (1995)a; The Lily-leaf and the Grasshopper (1972)b; The Transformation of that Naked Ape (1972, rev. 1987)c; Lullaby ‘Intercom Baby’ (1975, arr. 1987)c; An African Shrine (1966)c; The Aggressive Fishes (1972)c; St. Antony and the Beggar (1972)c. The Road Through Samarkand (1972)c

Kathryn Stott (b), Martin Roscoe (c) (pianos)
Anthony Goldstone and Caroline Clemmow (a) (piano duo)

Lyrita SRCD.2423 (two discs, 70’16” and 77’55”)
Producers bcHoward Devon, aAnthony Goldstone and Caroline Clemmow with George Lloyd Engineers bcHoward Devon, aAnthony Goldstone and Caroline Clemmow with George Lloyd

Recorded b2 June 1987 at Henry Wood Hall, London; c18 & 19 June 1987 at St. Barnabas, North Finchley, London; a4 & 5 November 1996 at St. John the Baptist, Aldeburgh

Reviewed by Richard Whitehouse

What’s the story?

Lyrita continues its ‘Signature Edition’ of music composed (and conducted) by George Lloyd with his works for one and two pianos, admirably performed here by a line-up of international stature including those pianists who recorded his concertos for this instrument (SRCD.2421).

What’s the music like?

As Lloyd himself recounted, training as a violinist rather prejudiced his writing for the piano, despite his wife’s prompting. It was hearing the young John Ogdon in the early 1960s that led to Scapegoat, this first piano concerto being followed by three others and several other works for piano over the ensuing decade. For all their diversity of inspiration, they have in common a determination to avoid wanton virtuosity in favour of a technical precision as never inhibits their composer’s aim to realize his musical intentions – whether idiomatically or individually.

This is evident in Lloyd’s earliest and arguably finest work for solo piano, An African Shrine. Written for Ogdon, who played it regularly and recorded in his 1970 EMI anthology Pianistic Philosophies, this takes in several sections – the vividness of whose expressive contrasts are balanced by the seamlessness with which they merge into an unbroken formal continuity. As an evocation of mindless violence, it is highly affecting and its cohesion as a one-movement ‘sonata’ makes for an indispensable addition to British piano music during the post-war era.

Lloyd followed this with the even more expansive Aubade, composed for Ogdon and his wife Brenda Lucas. Described as a ‘fantasy’, its eight sections outline a dream-like scenario which takes in charcoal burners, tin soldiers, a song then dance for two lovers, a medley of bells and chants, then moths; framed by an Introduction and Finale as set the scene thematically then sum it up unerringly. Enticingly realized for its medium if too diffuse overall, this would likely enjoy wider exposure if it were shortened and orchestrated as the ballet it cries out to become.

The year 1972 saw Lloyd immersed in the solo piano. Among these shorter pieces, The Road Through Samarkand is the most directly appealing with its amused if never sarcastic send-up of Krishna adherents in central London with many taking the journey from Calais to Calcutta, though whether the outcome is one of utopianism or disillusionment is left unanswered by the peremptory close. St Anthony and the Beggar is a direct corollary to the Biblical parable, here with an outcome of demonstrable catharsis, while The Aggressive Fishes evokes the allure yet danger of certain tropical species in music alternately atmospheric and ominous. Inspired by a citing from the banks of the Avon, The Lily-Leaf and the Grasshopper is a subtler interplay of contrasts – the insect’s quizzical demeanour emerging out of then back into a rapt waterscape.

The most substantial of these later pieces is The Transformation of the Naked Ape. Taking its cue from Lloyd’s consideration of the essential difference between animals and humans, these six movements (each longer than the last) deftly outline a progression from external to internal properties – hence from Her Hair, via those of Tongue, Eyes, Brain and Mind, to Her Soul – though any inference of increasing spirituality is scotched by the capricious final number of this highly diverting sequence, in which pleasure and provocation have been pointedly elided.

Lloyd wrote little more for piano in either medium, though his arrangement of the violin-and-piano Intercom Baby 12 years on as Lullaby turned one of his most ingratiating shorter pieces into this ideal encore – wistful and playful by turns. Drawing on a carol written when he was just ten (then used extensively in his opera John Socman), Eventide emerges as a fantasy on this tune such as adumbrates a journey from innocence to experience of deceptive simplicity and has enjoyed greater exposure in a no less effective arrangement for brass band two years on. Finally, The Road Through Samarkand makes its reappearance arranged for two pianos – the inherent virtuosity of its writing more equably realized in this medium if, as is suggested here, those elements of struggle and assumed repose more potently realized by the original.

Does it all work?

Almost always. There is a sense of this music (rather its composer) fighting against precedent as regards idiomatic piano writing, for all that the outcome feels never less than effective and often much more so. The performances are highly sympathetic and often inspired – particularly Kathryn Stott with her contributions, though Martin Roscoe affords no mean insight and lucid pianism with his larger selection. The duo of Anthony Goldstone (much missed) and Caroline Clemmow is heard to impressive effect, but sound here could do with rather greater definition.

Is it recommended?

It is. Paul Conway’s annotations feature many pertinent observations, while the solo items are recorded with ideal clarity and spaciousness. Not the first port-of-call for those new to George Lloyd, maybe, but a collection where several items warrant inclusion in the modern repertoire.

Listen & Buy

For further information visit the dedicated page for the George Lloyd Signature Series. For more on the composer himself, head to the George Lloyd website, while for more on the artists click on the names to read about Martin Roscoe, Kathryn Stott and the Anthony Goldstone & Caroline Clemmow duo.

Published post no.2,248 – Tuesday 23 July 2024

On Record – MahlerFest XXXII: Joshua DeVane sings Lieder eines fahrenden Gesellen, Kenneth Woods conducts Symphony no.1

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Joshua DeVane (baritone); Colorado MahlerFest Chamber Orchestra (Lieder eines fahrenden Gesellen), Colorado MahlerFest Orchestra / Kenneth Woods

Mahler Symphony no.1 in D major (1887-8, rev, 1898)
Mahler arr. Schoenberg Lieder eines fahrenden Gesellen (1884-5, arr. 1920)
Mahler Blumine (1884, rev. 1889)

Colorado MahlerFest 195269164287 [79’02”]
Live performances on 18 May 2019 (Lieder eines fahrenden Gesellen), 19 May 2019, Macky Auditorium, Boulder, Colorado

Reviewed by Richard Whitehouse

What’s the story?

Recorded representation of the current MahlerFest era continues to grow with this release on CD (previously available as a download) of the First Symphony with related pieces, given at its 32nd edition and what was the fourth such event with Kenneth Woods as artistic director.

What’s the music like?

What was doubtless intended to inaugurate a chronological traversal began in 2019 with this performance of the First Symphony, the first to be heard in the critical edition published that year by Breitkopf & Härtel. Woods has written about this extensively at his website [Ken on the Great Mahler Debate of 2019 | Kenneth Woods – conductor]: suffice to add the numerous corrections and textural amendments enhance that fuller and more stratified orchestral sound such as Mahler favoured in 1899 when compared with earlier versions from 1889 and 1893.

Interpretatively, this performance is a satisfying one with few overt surprises but no obvious idiosyncrasies. Any lack of atmosphere during the first movement’s mesmeric introduction is offset by its easeful if never uneventful continuation – thus a subtly differentiated exposition repeat, then stealthy marshalling of expressive tension to a coda whose joyousness is rightly kept within limits. The scherzo is robust yet propulsive and the trio even finer in its unforced suavity, while the funeral march never over-inflects its Klezmer elements unfolding from the ominous and ironic, via gentle repose, to a closing fatalism. Woods succeeds better than most in holding together the unwieldy finale, allowing due emotional space for the recall of initial ideas that is its sure highlight, and the ensuing apotheosis lacks nothing in blazing affirmation.

Included as an encore is Blumine, the ‘romance’ salvaged from earlier incidental music which formed part of this symphony until being jettisoned in 1894 – here emerging with its elegance and pathos devoid of wanton sentiment. The actual concert continued with Korngold’s Violin Concerto then Beethoven’s Third Leonora Overture reorchestrated by Mahler, but the present release opens with a performance from the previous day’s concert of Lieder eines fahrenden Gesellen. This is heard in a chamber arrangement as supervised by Schoenberg for the 1920 season of his Society for Private Musical Performances, its textural transparency underlining the soulfulness then buoyancy of its opening two songs. If the (over-wrought?) drama of the third song is under-projected, the wistful radiance of its successor comes across unimpeded.

Does it all work?

Indeed it does, overall. Mahler symphonies may have been performed and recorded by a host of international orchestras, but that of the Colorado MahlerFest lacks nothing in commitment or tenacity; any lack of atmosphere and finesse owes more to the clear if confined acoustic of Macky Auditorium than absence of quiet playing or overriding of dynamics. Joshua DeVane is a thoughtful exponent of the song-cycle, at his best in the restrained inwardness of its outer numbers, while the ensemble drawn from the CMO makes a persuasive case for this reduction.

Is it recommended?

It is. The orchestral playing may have grown in conviction with each new instalment, but this is a notable statement of intent for MahlerFest under Woods’s direction. That the 33rd edition had to be scaled down then presented online had little effect on the resolve of those involved.

Buy

For further purchase options, visit the MahlerFest website – and for more information on the festival itself, click here. Click on the names for further information on conductor Kenneth Woods and soloist Joshua DeVane

Published post no.2,247 – Monday 22 July 2024

On Record – George Lloyd: The Works for Brass (Lyrita)

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George Lloyd
Royal Parks (1982/4)
Diversions on a Bass Theme (1986)
Evening Song (1989. arr. 1991)
H.M.S. Trinidad (1941, arr. 1991)
English Heritage (1987)
A Miniature Triptych (1981)

John Foster Black Dyke Mills Band / David King; Equale Brass [John Wallace and John Miller (trumpets), Michael Thompson (horn), Peter Bassano (trombone), John Jenkins (tuba) (A Miniature Triptych)]

Lyrita SRCD.425 [75’52”]
Producers Paul Hindmarsh with George Lloyd, Engineer Harold Barnes

Recorded 5 & 6 July 1991 at Town Hall, Dewsbury at Wyastone Leys, June 1987 at Monmouth (A Miniature Triptych)

Reviewed by Richard Whitehouse

What’s the story?

Lyrita continues its ‘Signature Edition’ devoted to the music of – while mostly conducted by –George Lloyd with this collection of almost all his output for brass instruments and a further reminder that, however belated his commitment to a specific medium, it was then in earnest.

What’s the music like?

Despite (or perhaps because of) his experience as bandsman in the Royal Marines during the Second World War, Lloyd turned to this medium relatively late on and then obliquely via the brass quintet. Written for members of the Philharmonia Orchestra, A Miniature Triptych has a depth hinted at by the movement-titles – the plangency of its preludial Lost followed by the more emotionally varied Searching, then the mounting resolve of Found sees this sequence to a decisive but not wholly affirmative close. An intriguing addition to an appealing medium.

The brass band was at the forefront of Lloyd’s thinking over the next decade, starting with the suite Royal Parks composed for the European Brass Band Championships. Here the airborne evocation of Dawn Flight, and the genial animation of Holidays, frame an In Memoriam written for orchestra two years earlier to commemorate the bandsman murdered in a bombing at Regent’s Park by the Provisional IRA – making it one of the composer’s most personal and affecting statements. English Heritage was written for the Historic Buildings and Monuments Commission and later used as test-piece for the National Brass Band Championships of Great Britain – its technical virtuosity matched by formal dexterity, with the spontaneity of Fanfare allayed by the repose of Largo and Finale combining these motifs into a rousing peroration.

Composed just before the latter work, Diversions on a Bass Theme ranks among Lloyd’s most ingenious pieces in any medium – the range of ideas emerging in its earlier stages functioning as variations in search of a theme as duly emerges with not a little laconic humour toward the close. The remaining items are both arrangements – Evening Song being that of the two-piano work Eventide two years earlier, its luminous elaboration of a carol composed by the ten-year -old Lloyd sounding arguably even more idiomatic and atmospheric when rendered by brass. By contrast, the march HMS Trinidad was arranged half-a-century after being composed for orchestra – and it is a measure of Lloyd’s prowess that he throws the ‘march and trio’ format off-kilter by juxtaposing their varied reappearances to such unexpected and appealing effect.

Does it all work?

It does. As Paul Conway surmises in his informative notes, any reticence on Lloyd’s part in writing for brass band likely derives from his wartime traumas – which does not make those works he eventually wrote any less idiomatic or distinctive. Not least as David King gets so laudable a response from the then John Foster Black Dyke Mills Band; also, Equale Brass in a recording seemingly left ‘in the can’ the past four decades. As with composers such as John McCabe, Edward Gregson or John Pickard, one overlooks Lloyd’s band music at one’s peril.

Is it recommended?

It is. Note that the original release predates Lloyd’s last such work – 1993’s King’s Messenger given by Eikanger-Bjorsvik Musikklag on Doyen (DOYCD047), with 1987’s Forest of Arden for wind band recorded by City of London Wind Ensemble on LDR Records (LDRCD1001).

Listen & Buy

For further information visit the dedicated page for the George Lloyd Signature Series. For more on the composer himself, head to the George Lloyd website

Published post no.2,246 – Sunday 21 July 2024

Let’s Dance – Various Artists: Under One Roof (Poker Flat Recordings)

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by Ben Hogwood

What’s the story?

Under One Roof marks the kick off to a new series of releases dedicated to new artists from Poker Flat. Label head Steve Bug took part as a coach in the Mixmasters Retreat on Ibiza last year, alongside producers Huxley and Denney and singer-songwriter Jade PraiZe.

The retreat harvested a great crop of tracks, most of which were signed up for the Under One Roof initiative, bolstered by a remix each from the coaches themselves.

The first instalment is a bundle of the first five EPs.

What’s the music like?

There is some strong house music here, confidently delivered – and of consistently high quality.  Jade PraiZe’s smoky vocal on Thorsten Hammer’s World On Shoulders provides the ideal start, while the rolling beats of Maxima’s Get Into It – bolstered in remix form by Denney – are quick to impress.

T. Nguyen’s Prophetic Love has strong hints of Kerri Chandler – in a good way – while Al Leahy’s Shadow Rush proves the pick of the punch, a superb bassy number that delivers a wonderful, full-bodied bass line.

The remixes are an ideal complement to the main course, putting the seal on a desirable package – especially Steve Bug’s upbeat take on Prophetic Love.

Does it all work?

Pretty much! One or two tracks on the list feel a little bit formulaic – and while she generally delivers excellent vocals, PraiZe’s slot on Fast To Slow might be too nasal for some – but that’s splitting hairs in a fine collection, up to Poker Flat’s typically high standards.

Is it recommended?

It is. A collection of house music on the deeper side that connoisseurs of the genre will warm to straight away.

For fans of… Kerri Chandler, Miguel Migs, Andy Caldwell, Larry Heard

Listen & Buy

Published post no.2,245 – Saturday 20 July 2024