Sobriety of presentation
– it takes confidence to make this choice
in a world of attention-grabbing design
coups. Lyrita’s assertive but understated
style goes with competence and a well
placed confidence that they have something
substantial to offer which does not
require lurid colours or wild experimentation.
In that sense Lyrita can be compared
with Matt Walters’ First Edition - a
most treasurable label. The rather matte
effect of the covers here is consistent
with the design of the Lyrita LP sleeves.
In fact a number of the new CDs have
used the LP designs or details from
them e.g. Hadley/Finzi and Ireland volume
1.
This generous Rawsthorne
disc is packed tight with three major
works and the most famous of his concert
overtures. I recall Symphonic Studies
from the CFP LP which coupled the Lambert
recording of the Rawsthorne work with
the Goehr recording (now on NMC) of
Tippett’s Concerto for Double String
Orchestra. Pritchard delivers a
most successful performance and he is
recorded by the Lyrita team with typical
mastery and with a sympathetic ear or
microphone leaning towards the horns.
It’s a work often in a lather of emotional
turmoil but it’s too easy to overlook
the more reflective moments such as
the Lento (tr. 5). This recording
was first issued as a coupling on LP
(SRCS 90) with the Rawsthorne Symphony
No. 1 a work now on SRCD291 with the
other two Rawsthorne symphonies. This
version of the Symphonic Studies
is a shade more headlong on Lyrita than
its comparator on Naxos. The ebullient,
brusque, breezy and blowsy Street
Corner overture was commissioned
in 1944 by ENSA alongside such other
joyous overtures as Moeran’s Overture
to a Masque. The Rawsthorne was
first issued on LP on Lyrita SRCS 95.
The First Piano Concerto in its outer
movements has the brittle brilliance
of Prokofiev. Interesting that the composer
builds in echoes of the Symphonic
Studies at 3:35 in the first movement.
After a chilly middle movement the finale
is an out-and-out tarantella ending
with a cheeky but perfectly weighted
smiling flourish. The middle movement
has a chilly character. Once again,
this time in the Piano Concerto No.
2, Rawsthorne builds in a reminiscence
of the Symphonic Studies – listen
to it in the bass at 1:47 onwards and
elsewhere. This Second Piano Concerto
has a more Brahmsian sense of heroism
and tragedy than the First Concerto
which although written in the 1930s
always sounds to me like a refugee from
the 1920s. Rawsthorne’s trademark awkward
cuss writing is in full evidence throughout
and this is emphasised by Malcolm Binns.
These are fine recordings although for
even more impressive sound do try the
Chandos and Naxos versions.
The booklet notes are
drawn from the original LP sleeves and
are by Alan Frank, Hugo Cole and John
McCabe.
The transfers been
accomplished with typical professionalism
and care. You will not be disappointed
if you know the original vinyls.
A generously packed
and brilliant Rawsthorne collection
which make a perfect complement to the
Lyrita Rawsthorne symphonies. Add a
few of the Naxos discs - Cello Concerto
and the two Violin Concertos - and you
have the makings of a fine Rawsthorne
shelf.
Rob Barnett
The
Lyrita Catalogue
Companion to Symphonies SRCD291
http://www.musicweb-international.com/classrev/2004/Mar04/Rawsthorne291.htm
http://www.musicweb-international.com/classrev/2006/Oct06/Rawsthorne_symphonies_SRCD291.htm
Compare Naxos recording of two piano
concertos
http://www.musicweb-international.com/classrev/2003/July03/RawsthornePC12.htm
for
details 
Malcolm Binns (piano) 
