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Cyril SCOTT (1879-1970)
Piano Concerto No. 1 in C (1913-14) [39:32] Early One Morning - Poem for Piano and Orchestra (1931, rev.1962) [14:47]
Piano Concerto No. 2 (1958) [25:12]
John Ogdon (piano)
London Philharmonic Orchestra/Bernard Herrmann
rec. 1970s. ADD LYRITA SRCD.251 [79:44]
Readers
will note that it’s some time since this disc was first
reviewed on MusicWeb. I’ve had my copy for quite a while now
and, to be honest, the reason that my review is so long delayed
is because I’ve been uncertain what I should say about this
CD.
Let
me say at once that this reticence is no reflection on the
quality of the performances. The first appearance on CD of
these readings is a timely reminder of the tremendous technique – and
willingness to explore unfamiliar repertoire – of John Ogdon
who, had he lived, would have been seventy this year. The
disc also reminds us that Bernard Herrmann, best known for
his great film scores, was no mean conductor. He obtains
uniformly excellent playing from the LPO.
No,
I’m afraid my problem with this disc lies in the music itself.
I’ve kept putting it aside and then returning to it but I
keep coming to the same verdict. It’s inventively scored – Scott
was clearly a resourceful orchestrator – but it’s just not
memorable. Not only do I find that the music fails to lodge
in the memory after I’ve heard it, I find it unmemorable
even while listening to it. So, for example, writing of the
third movement of the First Concerto, Christopher Palmer
says that there’s an episode midway through where violin
and flute recall material from the slow movement. Well, I’m
sure this is so and I think I’ve identified the passage to
which he refers but I can’t be sure even now – and yet it’s
only minutes ago that the second movement played! For me,
Scott’s melodic material simply fails to make an impression.
I’m
sure that the fault is mine for Roger Wimbush, who contributes
the note on the Second Concerto and Early One Morning cites
Debussy, Richard Strauss, Elgar and Bernard Shaw as admirers
of Scott. So far better judges that I have found much more
than I have in the music but I can only report what I hear.
The
First Concerto is by some distance the most substantial work
here, running to nearly forty minutes. The first movement
alone takes just short of eighteen. Scott described the concerto
as “Not a deep work but an enlivening one.” It’s scored for
a relatively small orchestra, eschewing brass instruments
completely, but actually it sounds to be written for a larger
band than is the case. Certainly the scoring is resourceful.
I found the first movement interesting in terms of the sonorities
and pleasant harmonies. It’s a bright, colourful movement
but surely it’s too long for the material? I just wonder
if, with all his undoubted facility, the music came too easily
to Scott?
Christopher
Palmer describes the slow movement as “Delian, mystical,
crepuscular.” It’s rich in twilight atmosphere and very skilfully
scored. I found it most enjoyable to listen to but wondered
more than once if the music was actually going anywhere.
The third movement is mainly energetic and busy. The music
possesses what Christopher Palmer persuasively describes
as “very Grainger-like energy and exuberance.” The substantial
cadenza [8:12 – 10:44] is a gift to a pianist of Ogdon’s
prowess.
It’s
uncertain when the Second Concerto was written but probably
some four decades separate it from its predecessor. This
recording may well have been its first performance. The scoring
is more full, with brass added to the mix, and the music
is more serious in tone. The other big change is that Scott’s
musical language had become, at least on the evidence of
this piece, more astringent. For instance, in the ruminative
episode for strings (around 6:00 to 7:00 in the first movement)
the intervals in the melody are much more challenging than
was the case in the First Concerto. Yet again, however, I
find it hard to grasp the music’s profile, to get a sense
of direction. Roger Wimbush uses the same word – “Delian” – in
his description of the slow movement and certainly the accompaniment
is rich. The finale is energetic but all too often Scott
stops along the way for a short ruminative episode and the
impetus is lost.
Ironically
it’s the “slightest” piece on this disc that I’ve found easiest
to appreciate – I’ve deliberately put that word in quotes
because it’s not an insubstantial work; I’m really referring
to its dimensions alongside the two concertos. Early One
Morning was originally written for two pianos and orchestra
(1931) but the piece heard here is the 1962 revision which
employs just one piano. Once again, it’s possible that this
recording represented the first performance of the piece.
The tune in question is never heard in full – and, indeed,
it doesn’t appear at all until 3:12 into the piece. However,
the tune – or, at times, the implication of the tune – gives
the work a melodic foundation that I find lacking in the
other pieces. In essence, I suppose it keeps Scott on the
thematic straight and narrow. One surprise is the ending,
which is not only quiet but also a bit abrupt.
I’m
sorry that I can’t be more enthusiastic about the music on
this CD. However, that’s very much a subjective reaction
and I suppose it’s possible that one day I’ll get onto Cyril
Scott’s wavelength. Those who either are already on that
wavelength or wish to sample his music should not be put
off in the slightest by my strictures about the music for
the disc itself contains fine, committed performances, splendidly
recorded. The notes by Christopher Palmer (Concerto No. 1)
and Roger Wimbush are very helpful and well written.
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