It would be difficult to review this disc of symphonies without repeating
what is written in the liner-note about the circumstances of their creation
— they are so extraordinary. Up until he was 72 in 1948 Brian had composed
five symphonies with his symphony-writing journey beginning with the longest
symphony ever recorded — there being some disagreement about it being the
longest ever
written. His symphony no.1 ‘Gothic’ takes over 105
minutes to perform and demands vast forces, including an orchestra of around
170 players plus over 600 singers and four soloists. He did say that he had
never intended that it be performed. Unsurprisingly there have been few
performances but it gave him an air of mystery and elevated him to a kind of
legendary status. Despite that, fate took a hand and his music has largely
been ignored though there have been periods when he had a modicum of success
both before the First World War and in the 1950s when his champion, composer
and BBC music producer Robert Simpson helped get him some exposure. This
renewed interest sparked a fresh surge of creativity and like those rare
plants that flower only after decades of inactivity Brian produced a further
27 symphonies, including several written in his 90s. This sparked a comment
from
Anthony
Payne in his
Daily Telegraph review of the
world première of Brian’s symphony no. 28 conducted by Leopold Stokowski
that: "It was fascinating to contemplate the uniqueness of the event –
a 91-year-old conductor learning a new work by a 91-year-old
composer."
It has been said that Brian’s music owes a debt to the likes of Wagner,
Bruckner, Elgar, Strauss, Mahler and Bach — who doesn’t owe a debt to Bach?
— but what justification is there for saying that. It could be argued that
every composer owes a debt to those who’ve gone before. It is more fruitful
for the listener to sit back and enjoy the music rather than try to discern
influences however tempting that may be. While it is of passing interest to
mention such things one should let the music speak for itself. That said
there is so much to enjoy in Brian’s music that one should have no problem
in finding a lot to revel in. His
Sixth Symphony is a
tunefully rich concoction that satisfies on every level. It was originally
conceived as an orchestral prelude to an opera which never saw the light of
day. When he re-numbered his symphonies and eliminated his original ‘first’
symphony this became his number six. I particularly enjoyed his use of low
woodwind to evoke the threatening-sounding moments as well as his judicious
use of the tam-tam. Although there are several dark moments in this symphony
which give it its subtitle ‘tragic’ it is not overwhelmingly so. If one can
discern all those influences and, I hope, enjoying this symphony as I did
the listener will also be reminded of Sibelius. There is another excellent
alternative recording of No. 6 coupled with Brian's Symphony No. 16
on
Lyrita Recorded Edition SRCD.295. This was made in 1973 by
the LPO conducted by the late Myer Fredman. The work's first and for
many years only performance was given by the Royal Opera House Orchestra
conducted by Douglas Robinson in 1966. It can be heard on
YouTube.
As if to emphasise the peaks and troughs Brian’s music experienced in his
lifetime both the recordings here of symphonies nos. 28 and 29 are world
premières even though they date from 1967. More than that this recording of
the
no. 28 is the
first performance of it since
the studio broadcast conducted by Stokowski back in 1973. This can be heard
on
Klassic Haus (KHCD-2012-061). John Pickard in his notes
declares that it could be said to be the symphony’s first
real
performance, so distorted was Stokowski’s. Stokowski was known for his
idiosyncratic and even maverick performances of so many works often played
at breakneck speed and slicing minutes off scores that frequently suffered
as a result. In Alexander Walker’s hands the New Russia State Symphony
Orchestra make a well argued case for the symphony. It stands revealed as a
remarkable creation that is full of drama with a darkly beautiful edge.
Brian completed his Symphony No. 28 in the middle of May 1967 and by 1
June had already finished the first draft of his
No. 29,
completing the orchestrated score in full by the end of July. This task
would have made great demands on anyone at any age but it is scarcely
credible that Brian did this aged 91. Symphony No. 28 has its moments of
lyricism alongside its sombre nature. Its successor is dominated by a
largely lyrical feel and while it is cast in a ‘classical’ four movement
structure the sections are played without a break. Although the overall
atmosphere is emotional there are some more ‘serious’ episodes with a
martial edge that impinge on the lighter moments. This symphony is in every
way a remarkable achievement for a nonagenarian.
That said his
number 31 and penultimate symphonic
creation was written when Brian was 92. This symphony took his liking for
the single movement structure to the wire with what is described as a
free polyphonic fantasia. In this short 13 minute symphony Brian
shows what a master he was in treating the simplest material in an expansive
way. He did this by largely concentrating on a descending four note scale
with inversions, weaving a tightly complex pattern from this unlikely
fabric. The result is an extremely satisfying and enjoyable work that is
greater than the apparent sum of its parts.
The overriding summation of Brian’s symphonies is that his feel for
melody, harmony and downright excellent tunes coupled with a total mastery
of orchestration makes the neglect he experienced all the more difficult to
comprehend. That extended for much of a long and fruitful career which he
doggedly pursued regardless. His music is as interesting and ‘musical’ as
all the other composers whose works enjoyed much more exposure throughout
those decades in the twentieth century such as Elgar, Vaughan William, Bax
and Walton. It really is time that the listening public took more notice of
him as well as seeing his works featured more widely at the Proms and in
other concert programmes. I hope this CD helps that process along for both
orchestra and conductor do Brian proud. I can’t think of a better way to try
his music out than by sampling four symphonies that give a good introduction
to his fascinatingly broad musical world.
Steve Arloff
Previous review:
Michael Cookson (Recording of the Month)
