Live review – English Music Festival opening night: BBC Concert Orchestra & Martin Yates play Robin Milford, Stanford, Vaughan Williams & Arnold

Sergey Livitin (violin), BBC Concert Orchestra / Martin Yates

Dorchester Abbey, Dorchester-on-Thames
Friday 24 May 2019

Berners Portsmouth Point (1918) [World premiere]
Arnold Serenade Op.26 (1950)
Stanford Violin Concerto in D major (1875) [First public performance]
Vaughan Williams orch. Yates The Blue Bird (1913) [First public performance]
Delius A Song before Sunrise (1918)
Milford Symphony no.2 Op.34 (1933) [World premiere]

Written by Richard Whitehouse
Picture of BBC Concert Orchestra (c) Sim Canetty-Clarke

The 13th English Music Festival got off to an impressive start this evening, with Martin Yates presiding over the BBC Concert Orchestra for a substantial and wide-ranging programme that brought together the hitherto unknown and the relatively familiar in appropriate EMF fashion.

Who else would provide a platform for a first public performance of the Violin Concerto in D major that Stanford wrote at Leipzig in his mid-20s but which, despite the seeming approval of Joachim, remained unheard before being recorded two years ago. Admittedly the first movement rather outstays its welcome, the themes lacking memorability and a solo part not ideally contrasted with the orchestra, but the slow Intermezzo has an appealing poise; its cadenza artfully made an extended transition into the final Rondo (a procedure likely taken over from Wieniawski’s Second Concerto – the model in several respects), its winsome second theme brought back as a lingering coda prior to the closing flourish. Sergey Levitin proved an able and sympathetic soloist in a piece which, whatever its stylistic limitations, was certainly worth rehabilitating.

As too was the incidental music Vaughan Williams devised for Maurice Maeterlinck’s play The Blue Bird, idiomatically orchestrated from the piano score by Yates. This is essentially a ballet (or rather mime) sequence for the end of the first act, its series of thematically related dances striking a fantastical note such as the composer tellingly (if unexpectedly?) conveys. It may well have proved too ambitious in its original context though makes for a lively and imaginative suite, into whose whimsical spirit the BBCCO entered with evident enjoyment.

Malcolm Arnold’s Serenade exemplifies this composer’s early maturity with its pert melodic writing, harmonic ambiguity and rhythmic impetus. A Song before Sunrise is less often heard than other Delius miniatures, but its ruminative mood – barely ruffled by passing shadows, is no less characteristic. It could not have been more different from Lord Berners’s Portsmouth Point, redolent of early Prokofiev in its mechanistic aggression that, if it lacks the ebullience of Walton’s later overture, still packs an uninhibited punch when presented as a curtain-raiser.

The concert ended with its most intriguing item. Long considered a miniaturist (at least in his expressive scope), Robin Milford was not lacking in ambition – as reinforced by his Second Symphony (so designated following the rediscovery of its predecessor from six years earlier), admired by Vaughan Williams but only now receiving its first complete performance. Its four movements ostensibly reflect classical archetypes, but the first of these modulates ever more stealthily as it unfolds, while the scherzo’s latter trio unexpectedly opens-out the expressive range. The highlight is undoubtedly a slow movement of sustained and cumulative emotional depth, closer to Nielsen than Sibelius in tonal follow-through; after which, the (intentionally?) concise finale barely manages to provide a decisive resolution without seeming perfunctory.

Not in doubt was the commitment of the BBCCO and Yates in realizing this dark horse among British inter-war symphonies. A fitting end to an absorbing event: good to hear that orchestra and conductor will be returning for the 14th EMF – scheduled for May 20th–22nd next year.

Further listening

This concert will be broadcast on BBC Radio 3 on a date as yet unknown. Much of the music is not currently available in recorded versions on Spotify. However EM Records, the label who run the festival, made this enterprising release of Stanford‘s Violin Concerto no.2, coupled with Robin Milford‘s Violin Concerto no.2, both with soloist Rupert Marshall-Luck:

For more Robin Milford this album on Toccata Classics provides great insight into his writing for chamber music forces:

Meanwhile the following playlist includes the Malcolm Arnold and Delius works, the more familiar version of Portsmouth Point by Sir William Walton, and Arnold’s Symphony no.1:

BBC Proms: Dame Sarah Connolly & Joseph Middleton – English Songs

Proms at the Cadogan Hall: Dame Sarah Connolly (mezzo-soprano, above), Joseph Middleton (piano, below)

Stanford A Soft Day Op.140/3 (from A Sheaf of Songs from Leinster) (1913) (from 7:15 on the broadcast)
Parry Weep you no more, sad fountains (from English Lyrics Set 4) (1896) (9:58)
Vaughan Williams Love-Sight (from The House of Life) (1903) (12:18)
Gurney Thou didst delight my eyes (1921) (16:53)
Somervell A Shropshire Lad – ‘Into my heart an air that kills’ (1904) (20:19)
Bridge Come to me in my dreams (1906) (22:45)
Howells Goddess of Night (1920)
Bridge Journey’s End (1925) (28:19)
Britten A Sweet Lullaby (36:34); Somnus (40:31) (both 1947, world premieres)
Holst Journey’s End (1929) (42:50)
Britten A Charm of Lullabies Op.41 (1947) (45:09, 47:22, 49:08, 51:06, 52:48)
Lisa Illean Sleeplessness … Sails (2018, world premiere) (57:31)
Mark-Anthony Turnage Farewell (2016, world premiere)

Cadogan Hall, Monday 6 August 2018

You can listen this Prom by clicking here The times given on this page refer to the starting times on the broadcast itself

Reviewed by Ben Hogwood. Photo of Sarah Connolly (c) Jan Capinski

11 composers and four world premieres in an hour. Not a recipe for sleep and respite, you might think, but Dame Sarah Connolly and Joseph Middleton constructed between them an enchanting tour of English song, ending up at some far-flung outposts.

For anyone new to the form this would have been the ideal introduction, especially as Dame Sarah was singing with wonderful clarity and diction. I hardly needed to glance at the texts, for her words and expressions, added to those of Middleton’s carefully and beautifully crafted piano parts, did the job perfectly. The structure of the recital was very satisfying too, with natural pauses at the end of a short group of songs for applause and the intake of breath – and, as the subject matter was sleep and dreams, it ensured nobody had fallen foul of the listening criteria in the hot conditions!

The two began in Ireland, presenting the beatific calm of Winifred LettsA Soft Day, as set by Stanford, with the ‘wind from the south’ that some of us in the hot Cadogan Hall would have been longing for! So too for the subject of Parry’s Weep you no more, sad fountains, with its flowing piano lines. This pair from the fathers of English song led to one of the ‘sons’ – Vaughan Williams, and a deeply felt Love-Sight from his song-cycle The House of Life – and Ivor Gurney, his moving Thou didst delight my eyes.

We moved on to Arthur Somervell, the brief but tenderly devastating Into my heart an air that kills (from A Shropshire Lad) and then Come to me in my dreams, an expressive, earlier example of Frank Bridge’s chromatic credentials. Bridge appeared later with the lovelorn Journey’s End, following Herbert Howells’ magical Goddess Of Night – where Connolly allowed the text plenty of room.

Britten’s interpretations of sleep and dreams range from the calm to the nightmarish, aspects that surfaced throughout his song-cycle A Charm of Lullabies, which was given with two extra songs intended for the cycle but left unused. Recently ‘repaired’ by Colin Matthews, A Sweet Lullaby and Somnus were receiving their world premieres and were interesting finds if not quite reaching the level of intensity in the cycle itself.

Britten starts his night with A Cradle Song, before Connolly’s Scots accent (she was born relatively close by in County Durham!) brought an extremely authentic voice to The Highland Balou. The fifth number, The Nurse’s Song, is structured like the Dirge from Britten’s earlier Serenade for tenor, horn and strings. It focused everyone in the hall on the vivid storytelling of Connolly’s voice, from which she moved through humour, intense scolding (scary, too!) and soft slumber. The music ranged wildly, Britten’s wandering piano writing recalling Shostakovich in A Cradle Song, while the clustered chords of the refrain in Sephestia’s Lullaby spoke vividly in a language Janáček would understand. Connolly’s characterisations were brilliant, the audience impatient to clap between numbers initially but held in rapt concentration at the end.

In between the Britten discoveries, Gustav Holst contributed a sparse but telling interpretation of Journey’s End, which Connolly again sang with deep expression, while Australian composer Lisa Illean gave us another world premiere, a farewell of her own in Sleeplessness … Sails. This was a very slow-moving piece where Connolly held admirable control, despite the music’s seeming reluctance to move on. Arguably more effective was Turnage’s Farewell, a profound statement which ended with the composer bounding on the platform, delighted at the interpretation. It would be lovely to hear more from him in song – and from this pair, too, who delivered a wonderful hour’s escapism to the land of nod!

You can hear Dame Sarah Connolly and Joseph Middleton’s new recital disc Come To Me In My Dreams, which features much of the music heard in this concert, on the Spotify link below: