Tag Archives: Geoffrey Bush

On Record – BBC Philharmonic Orchestra / Rumon Gamba: Overtures from the British Isles Vol. 3 (Chandos)

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BBC Philharmonic Orchestra / Rumon Gamba

Arnell The New Age, Op. 2 (1939)
Brian The Tinker’s Wedding (1948)
Bridge Rebus H191 (1940)
Britten orch. Colin Matthews Overture to ‘Paul Bunyan’ Op.17 (1941)
A. Bush Resolution Op.25 (1944)
G. Bush Yoric (1949)
Fenby Rossini on Ilkla Moor (1938)
Jones Comedy Overture (1942)
Orr The Prospect of Whitby (1948)
Parker Overture to ‘The Glass Slipper’ (1944)
Rawsthorne Street Corner (1944)

Chandos CHAN20351 [77’20’’]
Producer Jonathan Cooper Engineer Stephen Rinker, Philip Halliwell

Recorded 23 May (Arnell, Brian, Britten, G. Bush, Rawsthorne), 20 November (Parker), 21 November 2024 (Bridge, A. Bush, Fenby, Jones, Orr) at MediaCityUK, Salford, Manchester

Reviewed by Richard Whitehouse

What’s the story?

Chandos continues its series devoted to British Overtures with the third instalment featuring three first recordings among those eleven works which, between them, demonstrate just how significant to British concertgoing was this now neglected genre throughout the inter-war era.

What’s the music like?

The album gets off to a cracking start with The Tinker’s Wedding – Havergal Brian’s overview of a play by J. M. Synge, by turns uproarious and ruminative, that duly launched his abundant Indian Summer. After this, Geoffrey Bush’s Yorick cannot help sounding well-behaved if with sufficient expressive contrast for an evocative portrayal of Shakespeare’s hapless jester. In his detailed booklet note, Lewis Foreman describes Alan Rawsthorne’s Street Corner as ‘‘largely forgotten’’, which is a pity given its vivid conjuring of time and place has dated as well as the best Ealing Comedy. If Daniel Jones’ take on its subject may be less memorable, his Comedy Overture exudes more than enough humour and intrigue to make its acquaintance worthwhile.

Frank Bridge’s last completed work, Rebus was unheard for decades after its premiere but this third recording confirms it as a minor masterpiece and the finest of all these pieces – not least as an object-lesson in being accessible without diluting individuality. Robin Orr first attracted attention with The Prospect of Whitby, and his bracingly resourceful evocation of the London pub should not have waited so long for its recording. Richard Arnell was clearly out to make a statement of intent with The New Age, which generates real energy between imposing outer sections. Benjamin Britten might not have intended to preface his operetta Paul Bunyan with an overture but, as realized by Colin Matthews, it leaves a pleasing if anonymous impression.

Far more personality is conveyed by Alan Bush in Resolution, derived from an earlier piece for brass band and which continues that dialectical facet evident in much of his earlier music through its contrapuntal dexterity. There could be no greater contrast than The Glass Slipper, Clifton Parker’s overture to Herbert and Eleanor Farjeon’s ‘fairy tale with music’ that found success as a Christmas Matinee in London’s West End. Most appealing for its slightness and knowingly fey charm, it ideally complements Rossini on Ilkla Moor – Eric Fenby’s ingenious homage to the Italian master which came about through (deliberate?) misunderstanding only to enjoyed frequent performance, and which entertainingly rounds off the present collection.

Does it all work?

Yes, whether in terms of the overtures heard individually and a continuous overall sequence. Those who have acquired those previous volumes (or Chandos’s two issues of British Tone Poems) will recall that Rumon Gamba favours predominantly swift tempos and so it proves here, though there is never a sense of this music unnecessarily being rushed, while the BBC Philharmonic is more than equal to the often considerable technical demands of each piece. None of those overtures previously recorded can surely have emerged so effectively as here

Is it recommended?

Indeed it is. The continued absence of overtures from the programmes of most UK orchestras means such pieces have little chance of reaching a new public other than with recordings, and there could be no greater incentive to get to know them than through a collection such as this.

Listen / Buy

You can hear excerpts from the album and explore purchase options at the Chandos website, or you can listen to the album on Tidal. Click to read more about the BBC Philharmonic Orchestra and conductor Rumon Gamba

Published post no.2,794 – Tuesday 10 February 2026

On record: Sinfonia of London / John Wilson – John Ireland: Orchestral Works (Chandos)

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John Ireland
Satyricon Overture (1946)
A Downland Suite [1941, arr. Ireland (movements 2 & 3), Geoffrey Bush (1 & 4)]
Mai-Dun (1920-21)
The Forgotten Rite (1913)
A London Overture (1936)
The Holy Boy (1941, Ireland’s string orchestra arrangement)
Epic March (1941-42)

Sinfonia of London / John Wilson

Chandos CHAN 5293 [67’16”]
Producer Brian Pidgeon
Engineer Ralph Couzens

Recorded 26-28 August 2021, Church of St. Augustine, Kilburn, London, UK

Reviewed by Ben Hogwood

What’s the story?

John Ireland is a well-respected composer in the scope of early 20th century British music. Often writing in shorter forms, his songs and piano music present a fine body of work and enable the listener to get to know this bittersweet musical personality. Meanwhile the more substantial chamber music shows Ireland was capable of handling larger structures.

A good way in to the composer’s output is through his orchestral music, and there are several attractive anthologies already available – from Sir Adrian Boult and from John Wilson himself, conducting the Halle Orchestra. Wilson returns to the composer here in the company of the Sinfonia of London to give us a collection of suites, tone poems and pictorial overtures. Perhaps inevitably, The Holy Boy – Ireland’s best-known song – is also included, in its arrangement for string orchestra.

What’s the music like?

Ireland’s music is simultaneously elusive, heartfelt, melodic and elegiac – and these fine performances get right to the heart of his thinking.

Wilson and his charges begin with a good-natured account of the overture Satyricon, enjoying its syncopations before a smooth and elegant second theme from the strings, who impress with their command of the longer phrases. They come to the fore in a co-arranged version of A Downland Suite, two movements each recast from the brass band original by Ireland himself an Geoffrey Bush. This is music of silvery tone and generous melodic content, with an incisive Prelude, solemn Elegy, poised Minuet and a crisp, upward looking Rondo. Contrasting this with Mai-Dun is a good move, revealing Ireland’s colourful orchestrations and some lavish harmonies while digging deep emotionally.

The Forgotten Rite, a prelude serving as Ireland’s first published orchestral work. also has deep underlying emotion, while The Holy Boy – Ireland’s favoured song – is more sentimental but not excessively so. Bigger sounds are promised by the Epic March, which certainly lives up to its billing and stature, and A London Overture, which may have less bustle than its Elgarian counterpart (Cockaigne) but creates a studied portrait of the English capital city.

Does it all work?

Yes. Wilson has an innate understanding of this music, and with top class performances and clarity of recording there is little if anything to dispute here. The bigger pieces fare particularly well, with a crisply deployed Epic March and a detailed account of A London Overture that has particular insight in the work’s quieter moment. The Sinfonia’s account of A Downland Suite is subtle but affecting, with a gently dancing Minuet and a thoughtful Elegy that tugs softly but insistently at the heartstrings.

Perhaps the most successful piece is Mai-Dun, exploring some glorious shades of colour and texture, while the dappled sunlight of The Forgotten Rite is also exquisitely painted.

Is it recommended?

Yes – even in comparison with the Halle anthology, which shares much of the repertoire recorded here – though that one includes the suite The Overlanders rather than A Downland Suite. Either are very fine collections, but this Sinfonia of London set of recordings is extremely well recorded and performed with rare insight, capturing the composer’s personality to a tee.

Listen

Buy

You can view buying options for this release – on download or SACD – on the Chandos website