Playlist – Late Elgar

by Ben Hogwood

If you’re reading this in the UK you will have noticed the sharpness in the air, an unmistakeable sign that summer is giving way to autumn.

At this time of year my musical thoughts often turn to late Elgar (above), and four works in particular that unwittingly depict the changing of the seasons with a striking clarity. Those four pieces are, in order of publication, the Violin Sonata in E minor Op.82, the String Quartet in E minor Op.83, the Piano Quintet in A minor Op.84 and the Cello Concerto in E minor Op.85.

Each piece – in a minor key – was written at Brinkwells (above), a thatched cottage in Sussex where Elgar had spent the previous summer with wife Alice and daughter Carice. The Violin Sonata was completed in summer 1918:

Immediately after the composer began the String Quartet, finished just before Christmas 1918:

Spring 1919 saw the completion of the Piano Quintet…

…before the Cello Concerto, one of his crowning glories, was completed in time for an October 1919 premiere:

They are the last four major compositions completed by Elgar – and you can listen to complete recordings of each one on this Spotify playlist:

Playlist – Spring Serenades

To celebrate the month of May, and what should in theory be a passage of warmer weather (!), Arcana is celebrating the art of the Serenade in a playlist.

Serenades have been a form in classical music for a good 250 years now, elevated to a higher form by Mozart but also perfected by 19th century composers such as Tchaikovksy, Dvorak and Brahms.

This playlist chooses selections from some of the best, venturing into the 20th century for examples by Elgar, Britten and Swedish composer Dag Wirén, while drawing on wonderful ‘drawing room’ music from the 18th century by composers including Mozart, Beethoven and Hummel.

Find a quiet hour if you can, and enjoy…

Online concert – English String Orchestra / Kenneth Woods: Elgar Festival Highlights 2 – Elgar’s Strings

elgar-festival-2

Truscott Elegy for Strings (1944)
Tippett Little Music for Strings (1946)
Elgar Serenade in E minor, Op. 20 (1892)
Chambers The Tall-Eared Fox and the Wild-Eyed Man (1994)

English String Orchestra / Kenneth Woods

Live performances at Guildhall, Worcester, Friday 29 October 2021

A further highlight from last year’s Elgar Festival, in the guise of an attractive miscellany that drew on the abundant body of music for strings, and which was persuasively rendered by the English String Orchestra that has been associated with this repertoire across several decades.

Interesting its principal conductor Kenneth Woods should have proposed a moratorium on the ESO’s performances of Elgar’s Serenade, as the three-year break evidently worked in favour of a piece here emerging as fresh and unjaded – whether in the capering motion of the initial Allegro as was ‘pleasurable’ indeed, the soulful intensity of a Larghetto centred on one of its composer’s most affecting melodies, or a final Allegretto which combines thematic elements with the deftest precision. 130 years on and this piece exhibits no signs of losing its appeal.

eso-woods

Sir Michael Tippett’s Little Music for Strings does seem to be gaining performances, which is only to the good of music as characteristic and accessible as this. Woods was rightly intent on imparting unity to the whole – tempering the rhetoric of the Prelude so it segued into the Fugue with its accumulation of textural weight and expressive intensity, before infusing the Air with a plaintiveness to which the vigorous Finale provided a natural foil. ESO performances in the presence of the composer need not detract from the excellence of its present-day incarnation.

The highlight, however, had come at the start with a revival of the Elegy by Harold Truscott. If the 22 piano sonatas are his greatest achievement, this is surely the piece to make his name more widely known – most likely his expression of acute regret over a failed relationship, and music that went unheard and unacknowledged in his lifetime. The ESO projected its questing tonal trajectory (redolent of later Nielsen) and plangent eloquence with unfailing conviction, so reinforcing its evident claim for a place near the heart of the repertoire for string orchestra.

A relative easing of emotional tension across this programme was made manifest by the final piece. Little known this side of the pond, Evan Chambers is widely respected as a composer and teacher – the present piece evincing his enthusiasm for Irish traditional music through its interplay of jigs which duly underpin the heady evocation that is The Tall-Eared Fox and the Wild-Eyed Man. That inspiration came from an encounter on the west coast of Wales serves to point up the playful irony of music such as strings and conductor alike attacked with relish.

An enjoyable piece, then, with which to round off a recital that was engaging and absorbing by turns. The ESO can be heard in further highlights from last year’s Elgar Festival towards the end of May – by which time, the 2022 edition will be only a few days away from starting.

This concert is available to view on the English Symphony Orchestra website from 29 April – 3 May

For further information on the 2022 Elgar Festival click here. For more on composer Harold Truscott click here, and for more on Evan Chambers click here. For more on the English String Orchestra, click here – and their conductor Kenneth Woods, click here

In concert – Julia Fischer, London Philharmonic Orchestra / Vladimir Jurowski: Elgar Violin Concerto & Enescu Symphony no.2

London Philharmonic Orchestra, Julia Fischer (c) Marquee TV

Elgar: Violin Concerto in B minor, Op. 61 (1910)
Enescu: Symphony No. 2 in A, Op. 17 (1912-14)

Julia Fischer (violin), London Philharmonic Orchestra / Vladimir Jurowski

Royal Festival Hall, London
Wednesday 13 April 2022

Written by Richard Whitehouse. Photo (c) Marquee TV (Julia Fischer)

Could there be a more instructive coupling than the pieces in this concert, with the London Philharmonic Orchestra and its conductor emeritus Vladimir Jurowski, for showing where musical Romanticism had arrived in the early 20th century and where it might have gone?

Relatively few concertos number among their composers’ most personal works, but Elgar’s Violin Concerto is one such and it was a measure of Julia Fischer’s identity that her account conveyed its conceptual richness as fully as its technical brilliance. Not least in the opening Allegro, Fischer drawing out that fatalism as germane to the heartfelt second theme as to its forceful predecessor such as pervades the initial tutti then the combative development. Here, as with the impetuous coda, Jurowski ensured textural clarity in even those densest passages.

Similarly in the Andante – the musing wistfulness of its main melody finding accord with the high-flown eloquence of what follows, with no undue lingering here or in those rapt closing bars. Its themes may be less overtly memorable, but the final Allegro molto follows a keenly purposeful trajectory whose dynamism is thrown into relief by that accompanied cadenza in which Elgar recollects earlier ideas as an intuitive interlude; rendered by Fischer with a poise as itself prepared ideally for the resumption of the finale then a powerfully rhetorical ending.

Enescu, who conducted the Paris premiere in 1932 with Yehudi Menuhin prior to the latter’s recording with the composer, might well have reflected on the success of this work compared to that of his Second Symphony – coolly received at the 1915 premiere, its score missing until 1924, and no revival until 1961. This might well have been the first hearing in London, but its formal and syntactical intricacy held no fear for Jurowski who, having previously championed Enescu’s Third Symphony and opera Oedipe, presided over a consistently assured rendition.

Not the least of its successes was in maintaining the impetus of the initial Vivace, whose ‘ma non troppo’ marking can easily lead to loss of focus among those polyphonic layers that were delineated with unfailing precision. Music this harmonically complex is (surprisingly?) direct as to melodic contours – not least its central Andante whose main theme, soulfully phrased by Benjamin Mellefont, has the evocative quality of those found in Russian symphonies several decades before. Here its inherent tenderness and its lingering regret could hardly be gainsaid.

The biggest challenge comes in the finale – not least the gauging of an extended introduction whose processional needs to generate momentum sufficient to propel the main Allegro on its eventful if never discursive course. Here, too, the extent of Enescu’s instrumental prowess is made plain by the dextrous contribution from keyboards and percussion to already extensive forces; variety of textures underpinning stages in musical evolution through to a coda whose heady if methodical accumulation of themes and motifs makes for a resplendent apotheosis.

Such was the impression left by this performance, a tribute to Jurowski’s conviction and the LPO’s executive skill. Maybe Enescu’s Fourth and Fifth Symphonies will yet be heard in the realizations by Pascal Bentoiu, his own symphonies themselves deserving of such advocacy.

To read Arcana’s interview with Julia Fischer, who talks about the Elgar and Mozart violin concertos, click here

For further information on the London Philharmonic Orchestra’s 2021/22 season, click here – and for the newly announced 2022/23 season click here For more on George Enescu, head to a dedicated website – and click on the artist names for more information on Julia Fischer and Vladimir Jurowski