This two-disc set celebrates the 80th birthday
in October 2001 of one of England’s most prolific, versatile and (still)
underrated composers, Sir Malcolm Arnold. It does not offer a fully
rounded portrait since none of his nine symphonies is included, nor
is any of his chamber music nor any of his prodigious output of film
music. Despite these omissions these two well-filled discs will give
great pleasure. In particular, they offer a splendid introduction for
the newcomer to Arnold’s music.
He began his musical career as a trumpeter in the LPO
and this experience "on the inside" has undoubtedly influenced
his music very significantly. No matter how much he stretches his players,
the demands which he makes on them are always musical and are made for
a musical purpose. Having had the pleasure of playing in performances
of several of the works in this collection I can attest to the fact
that they are not easy to play but they are great fun.
I think that two things above all distinguish Arnold’s
music. One is his tremendous skill as an orchestrator. Because he understands
the orchestra (or the brass band, for that matter) from within he has
an unerring feel for colour and effect. This is especially shown in
the way he writes for wind and brass – and he must be a percussionist’s
delight! The other, even more telling characteristic is his melodic
gift. He can write tunes and he is not afraid so to do. I couldn’t begin
to count the number of tunes contained on these discs. Many of them
are intrinsically simple (such as the one in the slow movement of the
Concerto for Two Pianos) and some are just plain outrageous (as in the
finale of the same work). No matter, they lodge in the memory and entertain.
A glance at the roster of performers assembled here
will indicate that the performances are of high quality. Several are
led by that doyen of English music, Vernon Handley, who has, of course,
recorded all of Arnold’s symphonies with great success. Others are under
the expert direction of Elgar Howarth, like Arnold himself originally
a trumpeter of distinction. And two of the performances are in the authoritative
hands of the composer himself – a splendidly perky performance of The
Padstow Lifeboat and the classic account of the Guitar Concerto
which features Julian Bream, for whom it was written.
I do have one quibble. No fewer than four of Arnold’s
sets of "regional" dances are included (is he a closet advocate
of devolution, I wonder?). These excellent pieces are always welcome
but I do wish that, for contrast, some of the dances had been presented
in their original orchestral guise. This is not to denigrate the Grimethorpe
performances which are not so much excellent as fabulously expert. However,
notwithstanding their skills I did find myself missing the more extensive
tonal palette of the full orchestra. It would have been nice if BMG
had included say two sets in the orchestral versions and two as brass
band arrangements.
The marvellous Grimethorpe band also performs several
works which were originally conceived for their medium: The Padstow
Lifeboat (1968); the two Suites, which date from 1965 and 1967;
and the Fantasy (1974). The Padstow Lifeboat, though ostensibly
a celebratory occasional piece is, on closer examination, a typically
ambiguous piece. To be sure, there is a characteristically jaunty ‘big
tune’. However, the tune is punctuated frequently by a baleful siren
call on the flügelhorn and at the heart of the work there is a
tumultuous sea storm. Thus, in under five minutes of music Arnold gave
the people of Padstow not just a splendid party piece for the opening
of their new lifeboat station but also a timely reminder of the dangers
that the boat and its crew could encounter any day of the week. So much
of his music is like this: superficially it seems lighthearted but you
don’t have to scratch the surface too hard to reveal darker emotions
underneath.
This collection also includes at least one rarity in
the shape of Larch Trees. This was written in 1943 (the same
year as Beckus the Dandipratt). It was first performed that year
(though only in rehearsal) under Arnold’s baton in the Royal Albert
Hall but it had to wait until 1984 for a public performance. The current
recording by London Musici was, I believe, its premiere recording and
very good it is. In his liner notes Andrew Dalton points out the influences
of Sibelius and Delius which are apparent in the music (especially the
former, I would say). As its title implies it is "nature music"
and it is well worth hearing. London Musici play with great sensitivity
under Mark Stephenson as, indeed, they do in the charming Serenade
for Small Orchestra. In the latter work they also have opportunities
to display wit and brio and they are not found wanting.
A couple of the works were new to me. One such was
the Anniversary Overture which Arnold penned in 1968 to mark
the 21st anniversary of the Hong Kong Philharmonic. It is
only a short piece (under 4 minutes) but it is wholly characteristic
and properly celebratory (with just a brief hint of the Orient in the
orchestration at 1’52"). The other piece new to me was Carnival
of Animals. This was written for a Hoffnung memorial concert in
1960 (The Grand, Grand Overture was written for one of the "real
things" in 1956 and memorably recorded ‘live’ on that occasion
though Handley’s account here benefits from much better, and therefore
more detailed, sound). This Carnival is a true jeu d’esprit;
six miniatures illustrating beasts as diverse as giraffes and sheep.
Performed here with appropriate relish by Handley and the RPO, this
would be ideal fare for the Last Night of the Proms.
So, a hugely enjoyable anniversary tribute to a composer
who has given enormous pleasure to performers and audiences for over
60 years. All the performances are fully worthy of the occasion, the
sound is first class throughout and the notes, though succinct are serviceable.
Happy birthday, Sir Malcolm!
John Quinn
See also review
by Terry Barfoot
RCA-BMG 74321 88392-2
[2CDs: 75.36; 76.04]