Purcell gets star
billing on this CD. We get sequences of instrumental excerpts
from five of his theatre works called suites. It’s a nuisance
throughout this CD that individual movements aren’t separately
tracked. First up, King Arthur, is a semi-opera, a play
which also has musical scenes and incidental music. The Suite
here begins with its Overture, slow and solemnly played but
quite a bright string sound with that touch of fluorescence
characteristic of early digital recording. If this is Arthur’s
troops getting ready, Thomas McIntosh has them proceeding in
dogged quavers. The fast section relieves the tension somewhat
and the part writing is clear but the approach is still a touch
deliberate. Next, also from the music before curtain up, comes
a tender Air (tr. 1 3:10) which you might fancy as depicting
Emmeline, Arthur’s betrothed. Here McIntosh is stately, but
with nicely shaped phrasing. Oboes are added to the string band,
doubling first and second violins and replacing them for the
repeats. This editorial variation in scoring is also used for
the following Hornpipe, the Third Act Tune (4:59) and the authentic
instrumental version of the Act 5 song Fairest isle (5:52),
by which time it has become something of a mannerism. Nevertheless
the song tune is given a pleasing breadth. And we’re back to
oboe-free territory for a rather firmly articulated Air, the
Fourth Act Tune (8:00) and the Chaconne (8:50) which was probably
the ‘Grand Dance’ at the very end. In this latter’s succeeding
quaver passages McIntosh sometimes recalls his somewhat stiff
upper lip Overture but he also evokes a sunny and assured mood
overall, properly quietening and growing paler from 11:36 when
F major turns to F minor for a spell.
The only other CD
currently available featuring suites from Purcell’s semi-operas
is Neville Marriner in a 1994 recording with the Academy of
St Martin-in-the-Fields (Capriccio 10 567). The items aren’t
identical but where they match Marriner has as much variation
in scoring and more style. His Chaconne is brighter and airier
and you never forget it’s a dance. His Overture has much more
lively projection and momentum, an equivalent timing of 1:48
against McIntosh’s 3:08, though McIntosh’s performance thereby
has something of the sense of foreboding of the play’s opening.
A case can also be made for McIntosh’s more plaintive manner
in the following Air and more savoured approach to Fairest
isle, which Marriner makes into a light dance.
Next comes a Suite
from Purcell’s only opera, Dido and Aeneas, like you’ve
never heard it before. In the Overture’s slow introduction the
chromatic harmonies are expressively savoured but in the quick
section, suddenly at tr. 2 1:20, oboes and trumpets flash forth
out of the string texture and such crude spasms become the mannerism
for this suite. They invade the slow ceremonial following Triumphing
Dance (2:35), jolly Act 3 Prelude (6:08) and Sailors’ Dance
(7:15), heard twice with an inelegant filling of the third section
only of the Witches’ Dance (8:02). We’re spared the trumpets
in the Prelude for the Witches (4:20) which follows the Triumphing
Dance but oboes still prettify what should be a sinister texture.
Oboes are OK in the Act 2 Scene 2 ritornello (6:44) which follows,
out of sequence, and Act 3 Prelude as it’s given fair bounce
and the strings are allowed the repeats to themselves.
The semi opera Dioclesian
is represented by the Dance of the Furies from the end of Act
2. There’s ‘Soft music before the Dance’ to lull you off guard
before the lashing swathes of demisemiquavers, clearly articulated
but not really scary at the slowish tempo chosen. McIntosh takes
4:52, Marriner just 2:52 with more suitably bristling effect,
though McIntosh creates more sense of atmosphere in the ‘Soft
music’.
From the semi opera
The Fairy Queen McIntosh gives us the Prelude before
curtain up with oboes doubling the violins for the first statements
of both sections, then something of an echo effect with quieter
repeats without oboes. It’s on the slow side. Marriner is more
vivacious here yet McIntosh has more sense of abundance. McIntosh
is in his element in the stately ‘Symphony while the swans come
forward’ from Act 3 (tr. 4 2:10), oboes present again. Next,
also in a sturdy version, is the Act 2 Prelude (4:30), the novelty
here being a repeat with trumpets doubling the violins except
for some dumbing down for 3 bars near the end. Trumpets also
double the violins in the Act 5 Entry Dance (5:51) for the repeats
of the first and third sections. Marriner uses only strings
here but contrasts between full and solo.
The final Purcell
item is four of the nine instrumental pieces of incidental music
provided for Aphra Behn’s play Abdelazar. The Rondeau,
familiar as the theme on which Britten worked his Variations
in his Young Person’s Guide to the Orchestra, is firmly
projected by McIntosh with neat dynamic shading. The Minuet
(tr. 5 1:41) is sunny and dancing with oboes doubling violins
again and on their own as a contrast for the repeats of both
sections. This editorial scoring is also applied in the Hornpipe
(4:36) but not before the variation of an Air (2:55) lightly
done by strings alone.
I compared The Parley
of Instruments/Peter Holman (Helios CDH 55010) who recorded all
nine items in 1986. Here are the comparative timings:
Timings |
Rondeau |
Minuet |
Air |
Hornpipe |
Total |
McIntosh |
1:41 |
1:14 |
1:41 |
0:58 |
5:34 |
Holman |
1:22 |
0:44 |
1:11 |
0:43 |
4:00 |
Holman uses period
instruments and prominent harpsichord continuo. With his modern
instruments McIntosh dispenses with continuo but creates more
variation through contrasts of dynamic. His broader approach
is to more formal effect in the Rondeau: Holman’s goes with
more of a swing. McIntosh’s Minuet is more relaxed because of
the reduced scoring for the repeats, but Holman offers a simpler
and more gracious lilt. His Air is faster and defter, yet McIntosh’s
also is appreciably light on its toes and McIntosh’s Hornpipe
is more consciously and attractively shaped.
The focus of this
CD now shifts to 18th century English keyboard concertos.
First up is Thomas Arne’s second organ concerto published in
1793. Here’s a confident and rumbustious sort of Allegro
from McIntosh with an imposing organ, shades of Wurlitzer, recorded
quite forward. McIntosh’s tempi for Arne are fast. This gives
the strings a glassy edge. Only the outer movements are accompanied
by orchestra. The first solo movement, ‘Slow’ (tr. 6 5:22) isn’t
that slow and the following Moderato (6:26), also quite pacy,
becomes more dramatic than reflective, though this might be
to its advantage. The Allegro (7:30) after this is consistent
in manner with the opening movement while the finale, a Giga:
Allegro con spirito (9:40) is a jubilant race, a heady experience,
but a rather fatiguing one in the glaring recorded sound.
Second comes John
Stanley’s fourth concerto from his opus 10 set published in 1775.
McIntosh’s opening Vivace movement is big boned and rather
grim. The following Andante affetuoso, in the benign Handel
manner, is here presented in rather grand, portly fashion. The
Presto finale has more bite and dazzle. I compared the
recording published in 1979 by Gerald Gifford at the organ of
Hexham Abbey directing the Northern Sinfonia (CRD 3365). Here
are the comparative timings:
Timings |
I |
II |
III |
Total |
McIntosh |
4:48 |
3:40 |
2:11 |
10:39 |
Gifford |
4:24 |
4:38 |
2:43 |
11:45 |
Gifford’s organ
has a cleaner, more incisive sound, more in scale with the chamber
orchestra backing, the overall effect neater, like that of 18th
century architecture. His slow movement is warmer, more lyrical,
gently spaced and affectionate. His finale doesn’t have McIntosh’s
bite but is breezily effected with clarity and sparkle.
Finally on this
CD McIntosh turns to the harpsichord for Thomas Chilcot’s third
concerto of his opus 2 set published in 1775. This begins with
an agreeable Allegro, all cheer and light with flutes
dancing around the strings. The harpsichord is recorded forward
and therefore comes with some action noise but at least its
tone is intimate. The following Andante (tr. 8 5:37)
introduces a more pensive mood but there’s still an assured
sweep overall to the proceedings, possibly overmuch so. No matter,
the Giga: Molto allegro says look, all is well and let
the celebrations be unabated. Chilcot, organist of Bath Abbey
all his working life, ought to be better known on this showing.
To sum up, this is
an unusual and interesting programme but the performances fall
into the ‘variable, sometimes good’ category and sometimes rather
oddball too. The Arkiv CD under review doesn’t have booklet notes
but I gather all future releases will and existing releases
are gradually being upgraded.
Michael Greenhalgh