Tag Archives: Sir Arthur Bliss

In concert – The London Chorus and New London Orchestra / Adrian Brown: VE Day 80th Anniversary Concert @ Holy Trinity Church, Sloane Square

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Petroc Trelawny (orator), The London Chorus, New London Orchestra / Adrian Brown

Vaughan Williams Six Choral Songs (1940)
Martinů Memorial to Lidice (1943)
Walton Spitfire Prelude and Fugue (1942)
Bliss Morning Heroes (1929-30)
Holst/Rice I Vow to Thee My Country (1921)

Holy Trinity Church, Sloane Square, London
Thursday 9 May 2025

Reviewed by Richard Whitehouse

The London Chorus and New London Orchestra have put on notable concerts in recent years, few more ambitious than this programme to mark not merely the 80th anniversary of Victory in Europe Day but also the 50th anniversary of Sir Arthur Bliss’s death in appropriate manner.

The first half comprised an unlikely but effective sequence of pieces written at the start of or during the Second World War. Rarely revived as such, Vaughan Williams’s Six Choral Songs to be Sung in Time of War works well as a whole: settings of Shelley that touch on aspects of courage, liberty, healing, victory, then pity, peace and war – before A Song to the New Age characterizes its utopian leanings in subdued and even ambivalent terms which seem typical of its composer. Suffice to add that the London Chorus had the full measure of its aspiration.

Two succinct if otherwise entirely different pieces brought out the best from the New London Orchestra. Rarely so overt in emotion, Martinů was well-nigh explicit when commemorating Nazi atrocities in music of plangent harmonies and chorale-like fervency both evocative and affecting. Derived from his score to the film The First of the Few, Walton had come up with a showpiece whose ceremonial prelude is vividly countered by its incisive fugue – making way for a brief if poignant interlude before matters are brought to a head in the rousing peroration.

Although intimately bound up with the First World War, Morning Heroes is wholly apposite for the present context. Conceived as the exorcism of his wartime experiences, Bliss’s choral symphony elides deftly between a distant past and its present; the first of its five movements featuring an orchestral introduction to set out the underlying mood and salient motifs, before Hector’s Farewell to Adromache had Petroc Trelawny eloquently evoking that scene on the ramparts of Troy without excess rhetoric. Adrian Brown’s understated direction meaningfully pointed up the expressive contrast between this and The City Arming – the setting of Walt Whitman whose interaction of chorus and orchestra was powerfully sustained right through   to the simmering unease at its close, with the onset of hostilities in the American Civil War.

The two parts of the central movement saw each section of the London Chorus come into its own: the women in Vigil, a confiding take on lines by Li-Tai-Po (Li Bai) such as relates the emotions of those left behind; and the men in The Bivouac’s Flame, plangently evoking life at the front with further lines from Whitman’s Drum Taps. Choral forces reunite in Achilles Goes Forth to Battle, a setting from later in The Iliad which brings about the work’s climax via The Heroes – a rollcall commemorating those of Antiquity. After this, the starkness of Wilfred Owen’s Spring Offensive is the greater for its sparse accompaniment – Trelawny’s oration a model of understatement as this segued into the setting of Robert Nichols’s Dawn on the Somme with those ‘morning heroes’ themselves evoked affirmatively if fatalistically.

A concert which ended in fine style with Holst’s stirring anthem had begun in subdued fashion with Dawn on the Somme – Ronald Corp’s elegy, given hours after his death was announced. Someone who had always given his all to this chorus and orchestra, he will be greatly missed.

Ronald Corp OBE (1951-2025)

Published post no.2,530 – Sunday 11 May 2025

English Music Festival – Opening concert on 23 May 2025, with world premiere of Stanley Bate’s Symphony no.2

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From the official press release:

There have been many significant first performances at the English Music Festival’s opening concert over the years and this year sees the BBC Concert Orchestra give the much-anticipated World Première of the Symphony no.2 by Stanley Bate (1911-1959); another outstanding student from the Royal College of Music, whose teachers included Ralph Vaughan Williams, R.O. Morris, Gordon Jacob, and Arthur Benjamin.
 
Stanley Bate’s prolific but vastly neglected output is overdue for re-evaluation and his works although being gradually recorded have yet to find a place in the concert hall. Symphony no.2 op.20 was completed in the spring of 1939, but the work appears to have been withdrawn by the composer without ever having achieved a performance.
 
Bate’s wife and fellow-composer, Peggy Glanville-Hicks, claimed her husband wrote a dozen or more symphonies and thirty or so piano sonatas. Often writing ‘en voyage’, Bate’s idiom can be dramatic and turbulent contrasting with interludes of exuberance, beauty and lyricism.

Anyone who knows Martin Yates’ recordings for Dutton will be familiar with the composer’s work. “Stanley Bate’s Symphony no.2 is, I think, going to be a revelation”, says Martin Yates. “He clearly was influenced by other composers working at the time, but he really did achieve something remarkable and individual with some of his works including this symphony. From the opening it explodes with tension. It is going to be incredible to hear it for the first time as it bursts into the world!”
 
Dedicated “To Mstislav Rostropovich with admiration and gratitude”, Arthur Bliss’ Cello Concerto is scored for small orchestra with the addition of harp and celesta. Heroic in character with ‘Quixotic’ flourishes and a soulful slow movement; according to Bliss, “There are no problems for the listener – only for the soloist!”
 
“The Arthur Bliss Cello Concerto is the most wonderfully crafted work, and I can’t understand its neglect”, says Martin Yates. “I know there is a lot of music that one could say that about, but Bliss really was a consummate musician and this concerto, written very late in his life, has a real lightness, yet depth that is utterly captivating and profound. It has a devastatingly difficult solo part with beautifully balanced orchestrations for a Mozart sized orchestras with the addition of a Celeste.”
 
The two works are performed alongside Ralph Vaughan Williams’ ‘trombone piece’, his Heroic Elegy and Triumphal Epilogue; a student work dating from 1901, which drew praise from his teacher Stanford who, according to the composer’s wife Adeline, chose the title for the piece. It remained unheard until a revival by the recording label, Dutton. Works by Delius and Alwyn complete the programme.

FURTHER INFORMATION AND HOW TO BOOK
 
Tickets are on sale from the website and by means of a postal booking form. Tickets for individual concerts will also be available at the door, subject to availability. Full Festival and Day Passes are also available. Programme and booking information is available on the EMF website

Dorchester Abbey (above) is the venue for the duration of the long weekend with talks taking place in the Village Hall as well as a Festival Lunch (pre-booking required). A dedicated mini-bus shuttle operates to/from Didcot Parkway rail station – bookings should be made via the website on publication of the timetable.

FRIDAY 23 MAY 2025
19:30 Dorchester Abbey, Oxfordshire
ENGLISH MUSIC FESTIVAL OPENING CONCERT
William Alwyn: The Innumerable Dance: An English Overture
Frederick Delius: The Walk to the Paradise Garden
Sir Arthur Bliss: Cello Concerto
Ralph Vaughan Williams: Heroic Elegy and Triumphal Epilogue
Stanley Bate: Symphony no.2 (World Premiere)
BBC Concert Orchestra
Martin Yates (conductor)
Raphael Wallfisch (cello)

Published post no.2,524 – Tuesday 6 May 2025

In concert – Peter Donohoe, RPO / Brabbins: Elgar ‘Enigma’ Variations; Bliss Piano Concerto; Vaughan Williams @ Cadogan Hall

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Peter Donohoe (piano, above), Royal Philharmonic Orchestra / Martyn Brabbins (below)

Vaughan Williams Five Variants of Dives and Lazarus (1939)
Bliss Piano Concerto in B flat major Op.58 (1938-9)
Elgar Variations on an Original Theme Op.36 ‘Enigma’ (1898-9)

Cadogan Hall, London
Wednesday 16 April 2025

Reviewed by Richard Whitehouse Pictures (c) Andy Paradise

June 1939 saw one of the more memorable occasions for British music with several premieres at the World’s Fair of New York, this multi-day festival with its theme of ‘Building the World of Tomorrow’ thrown into ironic relief given the outbreak of war in Europe three months later.

The first half of tonight’s concert by the Royal Philharmonic Orchestra duly replicated that on June 10th, beginning with Five Variants of Dives and Lazarus which Vaughan Williams wrote for the event. One of the few non-symphonic orchestral works from his later years, its scoring for divided strings and harp gives a warmly evocative context to this succession of paraphrases whose steadily unforced evolution is rounded off by one of its composer’s most radiant codas. Various solo passages provided the RPO’s section-leaders with their moment in the spotlight.

That concert 85 years ago continued with the Piano Concerto that Arthur Bliss had written for Solomon which enjoyed frequent revival over the next quarter-century. This 50th anniversary of its composer’s death provided an ideal opportunity to reassess a work conceived within the late-Romantic lineage, notably an opening movement whose thunderous initial gestures set in motion this large-scale sonata design whose overt rhetoric is tempered by an expressive poise and more ambivalent asides which make it anything but the epigone of an already bygone era.

Among a few present-day pianists to have this piece in his repertoire, Peter Donohoe tackled its many technical challenges head-on; the RPO and Martyn Brabbins (who had never before conducted it) overcoming some occasional moments of mis-coordination so as to present it to best advantage. He brought a lighter touch and no little emotional poise to bear on the central Adagietto, its inwardness carried over into a finale whose probing introduction was a perfect foil to the bravura that followed. Whatever qualms Bliss may have had regarding the ‘world situation’, there was little sense of doubt as the music surged to its emphatic and affirmative close – thereby setting the seal on this memorable performance and a work which, whatever it lacks in distinctive invention, vindicates Bliss’s overall ambition to an impressive degree.

A pity that logistics (and economics!) made revival of Bax’s Seventh Symphony, which had originally featured in those New York concerts, impracticable but hearing Brabbins direct so perceptive an account of Elgar’s Enigma Variations was no hardship. Perhaps because of the immediacy of the Cadogan Hall acoustic, it was also one in which the relatively brief livelier variations came into their own – hence the unbridled impetus of the fourth (W.M.B), seventh (Troyte) or 11th (G.R.S) variations, though there was no lack of eloquence in the first (C.A.E) and fifth (R.P.A) variations, or suffused fervour in the ninth (Nimrod). The 10th (Dorabella) variation was made into an intermezzo halting if whimsical, and the 13th became a romanza such as opened out this work’s expressive remit onto an altogether more metaphysical plane.

Those having heard Brabbins conduct this work in the Royal Albert Hall quite likely missed that organ-reinforced opulence afforded the 14th (E.D.U) variation yet, as this finale built to its triumphal conclusion, the unfailing conviction of this performance could hardly be denied.

For details on their 2024-25 season, head to the Royal Philharmonic Orchestra website. Click on the artist names to read more about pianist Peter Donohoe and conductor Martyn Brabbins, and also to discover more on The Arthur Bliss Society

Published post no.2,509 – Monday 21 April 2025

In appreciation – Sir Arthur Bliss

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by Ben Hogwood

Today marks 50 years since the passing of Sir Arthur Bliss, one of the most important composers in recent British musical history.

The Arthur Bliss Society sum up his contribution as “one of the most important figures in British musical life from the early 1920s (when he was regarded as an enfant terrible) through to his later years and his tenure of the office of Master of the Queen’s Music from 1953, following Sir Arnold Bax”.

If you are a regular Arcana reader you will have read about recent performances of A Colour Symphony, one of his most popular orchestral works, and also a revival for his masterful Temporal Variations, recorded by the BBC Philharmonic Orchestra and John Wilson for later this anniversary year.

For now, here is a Tidal playlist taking excerpts from some of Bliss’s most important works, as well as including the two orchestral works noted above:

https://tidal.com/browse/playlist/5bd034aa-a0fb-42f5-9b1c-28788ad8a0fa

To read about further concerts in Bliss’s anniversary year, you can visit the Arthur Bliss Society website – where you will find more information about the pieces above.

Published post no.2,486 – Thursday 27 March 2025

In concert – Westminster Philharmonic Orchestra / Jonathan Butcher: Bliss: A Colour Symphony

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Westminster Philharmonic Orchestra / Jonathan Butcher (below)

Elgar In the South (Alassio) Op.50 (1903-4)
Bernstein On the Waterfront – Suite (1954-5)
Bliss A Colour Symphony (1921-2, rev. 1932)

St John’s Church, Waterloo, London
Saturday 1 March 2025

Reviewed by Richard Whitehouse

The Westminster Philharmonic Orchestra has given any number of well programmed concerts over the 53 years of its existence and tonight’s was no exception, featuring as it did a welcome revival of A Colour Symphony with which Arthur Bliss nonplussed first-night listeners 102 years ago.

Much has been written about the relationship between the colours as referenced in each of the movement headings with the music in question. In fact, the heraldic source from which these are derived was the means to focussing what could otherwise have remained the ‘Symphony in B’ of its working-title. The Purple of its opening movement evokes a processional whose emergence then retreat sets out the salient ideas in its wake, while that of Red is a scherzo with its two trios drawn into a sonata form whose unwavering impetus makes contrast with Blue more potent. Nor is this latter an archetypal slow movement – its expressive eddying an anticipation of that inexorable momentum with which Green traverses its double fugue, towards an apotheosis that sets the seal on the overall design with unmistakable conviction.

A Colour Symphony is not an easy work to make cohere – in which respect, this performance succeeded admirably. Jonathan Butcher ensured that Purple fulfilled its preludial function with sufficient gravitas to launch Red with an energy as amply underpinned its productive thematic elaboration; the work effectively becoming a tale of two halves, with the latter an extended and varied take on the ideas already established. The nervous energy that informs Blue was admirably conveyed, with the WPO giving of its collective best, while Butcher (rightly) did not rush the unfolding of Green – its respectively methodical then impetuous fugal subjects persuasively fused into a coda whose affirmation is far from that of a ‘‘mere paragraphist’’, as Elgar lamented, but of one able to refashion symphonic principals at will.

In the first half, Leonard Bernstein demonstrated a symphonic cohesion far greater than that of his actual symphonies in the suite from his score to Elia Kazan’s film On the Waterfront. For all its violent energy (and lessons well learned from Copland’s ballet Billy the Kid), this is music defined by its wind solos and it was to the credit of horn player Adrian Wheeler, oboist Tony Freer or alto saxophonist Bernie Hunt they were never less than plangently emotional. Whether or not Bernstein’s most ambitious orchestral work, this is by some way his finest.

Music by Elgar had opened the concert. His In the South might be as much a tone poem as a concert overture, but its effective overall design – anticipating those first movements of the symphonies to come – is its own justification. While he eschewed something of this music’s often scenic opulence, Butcher certainly had the measure of its formal ingenuity – with only the final peroration failing to deliver that necessary emotional frisson. Earlier on, Jonathan Welch’s viola playing brought pathos as well as tenderness to its exquisite ‘canto populare’.

Overall, a concert such as matched in execution what it had in ambition and which should equally be the case with the WPO’s next concert, where highly contrasted works by Barber and Tchaikovsky are to be followed by the mighty edifice of Bruckner’s Ninth Symphony.

For more information on the orchestra’s 2024-25 season, head to the Westminster Philharmonic Orchestra website Click on the names to read more about conductor Jonathan Butcher, and about Sir Arthur Bliss himself. You can also find out more about The Bliss Trust

Published post no.2,464 – Wednesday 5 March 2025