Alwyn
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Three cycles of Alwyn’s
five symphonies are currently in the
lists: Lyrita, Chandos, Naxos. The Lyrita
will take a bit of effort - a special
order from Harold Moores in London.
It is remarkable but very welcome that
there should be such a choice! You can
get the Chandos in a single box (symphonies
1-5 plus the Sinfonietta) or
rather untidily across five individual
discs coupled with concertos and other
works.
The Lyrita is at full price with all
five symphonies spread efficiently across
two discs coupled 2, 3, 5: SRCD228 review
and 1, 4: SRCD227 review.
There are Lyrita review
and Chandos recordings of Lyra Angelica
but not coupled with the symphonies.
Alwyn's Fourth Symphony
has a weightiness of expression
that is completely consonant with the
symphony concept; nothing if not serious
and imposing. It is variously Holstian
(3.33) and barbarically splendid (4.00;
6.00; 6.07). If you are a sucker for
gloriously roaring brass writing then
just wait until you hear 8.17 in this
movement and 2.02 in the next. The second
movement tumbles with the sort of thunderous
energy that electrifies Beethoven 7.
Peeling discords rattle the windows
and shake the rafters. Parts of this
writing suggest a rowdy concert overture:
Petrushka, or Beckus or
some other jackanapes. It is not perhaps
as tautly executed as the composer’s
own version on Lyrita but there’s little
in it. After all this dynamism the third
movement suggests a tender post-coital
repletion. Once again Alwyn leans on
his sighing Pre-Raphaelite inclinations
which evolve into a long-lined romantic
theme (half cousin to Herrmann’s Marnie).
This is brutally shaken off for the
return of those pealing discords. The
music then surges upwards to Hollywood
splendour cross-cut with Janáček-like
figures.
By comparison the short
Sinfonietta for Strings is
slightly on the dry side. It is not
a big romantic statement but has a Bartókian
propulsion and visceral impact. Other
works paralleled are the string Sinfoniettas
by Waxman and Herrmann ... at least
in the Alwyn’s outer movements. The
middle movement swoons somewhat but
is in a style closer to Bridge’s There
is a Willow. It includes a lovely
violin solo which suggests a Berg-like
glimmering half-light. Towards the end
of the movement the romance is piled
high recalling the Adagietto
of Mahler 5.
Shorter playing time
than the Naxos disc of symphonies 1
and 3. There was space for some concert
overtures or shorter works. Nevertheless
this is a rewarding disc and at bargain
price is attractive. Spirited and well-recorded
performances that will win new friends
for Alwyn. I would however recommend
that they start with the Fifth Symphony
and Lyra Angelica.
Rob Barnett
Royal Liverpool Philharmonic Orchestra/David
Lloyd-Jones 
