It is particularly
satisfying to note that the thirtieth
anniversary of the death of Sir Arthur
Bliss is being recognized by some important
new recordings, revealing his stature
as one of the finest composers of the
20th century. There is no
need to describe him merely as ‘one
of the finest British composers’.
Bliss was a central
figure in British musical life across
many decades. Emerging during the 1920s
as an important composer out of an avant-garde
early phase, he composed successfully
in all the main genres and, having received
a knighthood in 1950, became Master
of the Queen’s Musick following the
death of Sir Arnold Bax in 1953. He
maintained this position right through
to the time of his death in 1975.
These two pieces –
Mêlée Fantasque and
the ballet Checkmate, are separated
by nearly twenty years. Both have ballet
connections, although only the latter
really established itself in the theatre.
Mêlée Fantasque of
1921 was composed under the spell of
Diaghilev’s Ballets Russes, for Bliss
was always profoundly aware of contemporary
artistic trends. This was his first
orchestral score, yet it seems so assured
in its handling of texture and colour
in particular. He succeeded in his intention
to ‘convey the rhythmic verve and Bakst-like
colour of Lovat Fraser’s painting’.
These Scottish performers capture exactly
that spirit, and the recording is among
the best that Naxos has achieved: atmospheric,
clear and bright.
It is Checkmate,
however, that is of prime interest here.
Choreographed by Ninette de Valois,
the work received a glittering premiere
in Paris at the Théâtre
des Champs-Élysées in
June 1937. The full score plays for
nearly an hour, and this is only its
second recording, following that made
by the Royal Ballet Sinfonia and Barry
Wordsworth in 2001. All the other issues
over years were of various selections
for the concert hall - which work well
enough, it needs to be said. Bliss played
chess and his understanding of the game
informed his creative work, not least
the tensions and moments of calm as
it progresses.
David Lloyd-Jones conveys
the longer view in his control of the
performance, drawing expert playing
from the Scottish orchestra in every
department. For example, the woodwinds
cover themselves in glory in the Entry
of the Black Queen, while the brass
are never shy of forcing the tone when
a climax demands it.
With typically well
written insert notes from Andrew Burn,
this excellent disc becomes a top recommendation.
Terry Barfoot
Royal Scottish National Orchestra/David Lloyd-Jones
