Although British born
and strongly dedicated to the performance
of British music, conductor Douglas
Bostock has spent much of his career
working overseas. Consequently he is
probably best known in the United Kingdom
for his work on the Danish ClassicO
label. Amongst his recordings of British
repertoire for the label are two discs
dedicated to the music of Arnold, although
sadly financial difficulties appear
to have cut short what promised to be
a highly interesting series of discs.
This is the first of
several discs to be reviewed for Musicweb
showcasing Bostock’s association with
the Tokyo Kosei Wind Orchestra, an ensemble
of which he has been principal conductor
since January 2001. He is in illustrious
company for one of his predecessors
was Frederick Fennell, the founder of
the Eastman Wind Ensemble, who after
a lengthy period at the helm became
Conductor Laureate of the band from
1996.
There is, in reality,
only one original work for the medium
represented, namely the brief March
that Arnold wrote in 1957 to celebrate
the centenary of the Royal Military
School of Music at Kneller Hall. As
Douglas Bostock points out in his booklet
note the works do transcribe well for
the medium although I have to confess
that I did find myself missing the atmosphere
of Arnold’s deft orchestration in the
two most well known works: the overtures
Tam O’ Shanter and Peterloo.
What is equally and
immediately striking is the impressive
quality of the playing from the band,
who are clearly a crack ensemble. From
the very opening Bostock gets them right
inside the music and the result is never
less than exciting.
The Prelude, Siciliano
and Rondo that opens the disc was
originally written for brass band with
the title Little Suite for Brass
and indeed both of the "Little
Suites" are heard more regularly
played by band or youth orchestra. Both
have figured as test pieces in the lower
brass band divisions on numerous occasions
being undemanding in terms of virtuosity
but favoured for their characteristic
and abundant tunefulness. As is often
the case with Arnold however, the undertones
can be considerably darker than is immediately
apparent and in the case of the Little
Suite No. 1, its origins were in
a piece originally conceived in memory
of the composer’s brother, who lost
his life in the war. The result is nonetheless
highly attractive. From the other suite
the gently lilting Siciliano
is particularly memorable, simple and
fleeting but quintessential Arnold in
its haunting melody.
The Sarabande and
Polka from the ballet, Solitaire
will be well known to Arnold fans and
as with the Siciliano, the Sarabande
is once again notable for its disarming
beauty. The Polka is very much
Arnold in "St. Trinians" mode.
Perhaps of greater interest is the suite
devised from the music Arnold wrote
for the film, The Inn of the Sixth
Happiness starring Ingrid Bergman.
Here the arrangement does indeed work
notably well. The London-inspired fanfares
of the first movement are heard once
again in more subdued mood during the
course of the ensuing second movement
Romance. The third and most substantial
movement again makes reference to the
opening material although the central
section of the movement comprises a
highly entertaining march constructed
around "This Old Man", building
to a triumphant conclusion where the
tune is combined with the now familiar
"London" music.
Of greater interest
still to Arnold aficionados will be
the only real rarity on the disc, the
Concertino for Saxophone and Winds.
Its unfamiliarity is largely due to
its unusual history, first seeing the
light of day as a piano sonata in 1942
when the composer was just twenty-one.
For many years it was overlooked and
was not performed until 1984. Subsequently
in 1994, composer David Ellis undertook
an arrangement for saxophone and strings.
The version given here now carries the
definitive title, scored for a modest
ensemble of double wind quintet with
the addition of trumpet, trombone and
double bass. The mood is predominantly
serious, the first of the three movements
being the most substantial and proceeding
from an understated though dark opening
via passages of alternating lyricism
and occasional introspection. The underlying
mood does not fundamentally change in
the brief central Andante con moto,
albeit with fleeting glimpses of sunlight
through the sadness. The final march
has a somewhat neo-classical feel combined
with a grotesquery that gives the impression
of Arnold cocking a tongue in cheek
snook at the major musical figures of
the day, notably Hindemith and Kurt
Weill. In reality it’s not vintage Arnold
but still manages to entertain through
the course of its ten minute or so duration.
Certainly a disc that
anyone with an interest in Arnold should
consider acquiring. All the more attractive
for the polished and exciting performances.
Christopher Thomas
Tokyo Kosei Wind Orchestra/Douglas Bostock
