For over a decade before Elgar’s First, Stanford’s “Irish Symphony”
was the most-played British Symphony, at home and abroad. Following
its premičre in London under Hans Richter on 27 June 1887, during
1888 it reached Hamburg (26 January under Hans von Bülow), Berlin
(6 February, Bülow again), New York (April, Walter Damrosch) and
Amsterdam (the inaugural concert of the Concertgebouw Orchestra
on 3 November under their first conductor Willem Kes). Kes’s successor
Willem Mengelberg conducted the Symphony several times – and other
works by Stanford, too – while notable performances were given
by Gustav Mahler in New York in 1910. After the First World War
it was gradually supplanted by more recent compositions, but listeners
with early memories going back to pre-war and wartime concerts
and broadcasts will tell you that it still cropped up sometimes
until the early 1940s. After the Second World War a reaction set
in against all things Victorian or Edwardian. Only more recently
has a new generation been ready to re-examine Stanford.
The
first movement ranges quite widely in its moods. If you look
for a logical link – according to the best German traditions
– between the ballad-like first group and the flowing, songlike
second, you won’t find one. For example, though the ominous
trombone motive over a timpani roll near the beginning recalls
a similar moment in Brahms’s Second Symphony, its purpose is
different. In Brahms the trombones underpin further statements
of the three-note motive that is the germ of the entire movement
– maybe the entire work. In Stanford, the motive is not intended
to generate anything beyond the next paragraph, leading to the
first big climax. The loosely organic framework is emphasized
by the way the development section does not attempt to combine
the themes or relate them to each other. In two parts, it develops
the first group and then passes on to the next. However, while
it is possible to argue that this amounts to a homespun non-use
of true symphonic form, it is also possible to find, taking
into account the considerably varied restatement of the themes
after the development, that it amounts to a pleasingly spontaneous,
rhapsodic structure well-suited to the nature of the subject-matter
in the way tight Brahmsian logic would not have been.
The
second movement has generally been judged as delightful. It
is a “hop-jig” – in 9/8 rather than 6/8, so adding a hop to
the normal jig movement when danced. The trio is warmly lyrical.
There has also been general agreement, too, that the slow movement,
from its atmospheric opening and close to its powerful climax,
is one of Stanford’s most deeply felt. However, it has a “problem”
which Richard Whitehouse’s notes really should have addressed.
Lewis Foreman’s notes to the Chandos recording find space to
discuss the matter, and of course both Jeremy Dibble and Paul
Rodmell deal with it in some detail in their books on the composer
[respectively Oxford 2002 and Ashgate 2002]. But not all purchasers
of Naxos discs can afford expensive musical biographies as well.
Underpinning
the second subject – a melody reminiscent of “The Last Rose
of Summer” first heard on the oboe – is an ostinato motive played
on the violas. Not very noticeable at first it pervades the
texture more as all four horns take it up in unison until it
ends by sweeping the melody itself aside. Stanford then returns
to develop the first theme but again, after a powerful build-up
including an “Eroica”-like fugato, the ostinato motive is blazed
out on wind and brass. Even a listener with minimal experience
of the classical repertoire will have noticed the similarity
to the horn-motive that opens the second movement of Brahms’s
Fourth Symphony. In the Brahms work, though, the motive is modal
(beginning on the third note of the C major scale, as it were),
while Stanford’s motive is “normal” (beginning on the first
note of the scale). So the actual effect is different. Is it
a quotation or isn’t it? the listener may ask. Then, following
a luxurious restatement of the first theme, there is a pause,
after which the solo horn enunciates the ostinato motive in
“modal” form, exactly as in the Brahms Symphony. After which
the oboe brings in the “Last Summer” theme and the “episode”
is over. Same notes (a semitone higher, but that doesn’t affect
the issue), same orchestration, approximately the same tempo
…. What’s happened?
Stanford’s
own explanation was simple, maybe simplistic. In a note to the
score, he states that “in the third movement … a portion of
an old Irish lament known as ‘The Lament of the Sons of Usnach’
has been utilised as a figure of accompaniment pp. 115 et seq’
[the incipit is then quoted]”. In “Pages from an Unwritten Diary”
(Edward Arnold 1914) he enlarges on the matter.
“The Irish Symphony and Brahms’ E minor Symphony (no. 4) were
written simultaneously. The slow movement of Brahms’ work begins
with a phrase which is note for note identical with a passage
in the slow movement of mine. But the passage [quotation given]
is from an old Irish lament in Petrie’s MSS” (p.262).
He
also notes with gratitude that Bülow drew the attention of a
prominent Berlin critic to this coincidence.
Unfortunately,
the facts contradict this comfortable chronology. Brahms’s Fourth
Symphony had its first performance at Meiningen on 25 October
1885. Since Stanford told Joachim he was burning to hear it
[Dibble p.182] we may presume he attended the London premičre
under Richter on 10 May 1886. Almost immediately he got to work
on his own new Symphony, completing the first movement on 5
June. Work was interrupted while he dashed off some choral commissions
and the second movement was finished on 18 February 1887. The
third followed on 4 April and the whole Symphony was ready on
30 April. Stanford therefore had ample time to hear and absorb
the Brahms before penning the “problem” passage. Unless we allow
the possibility that the Symphony was already gestating in his
mind before he actually put it to paper. Stanford avoided any
sort of discussion of his compositional methods. Ostensibly,
when it was time to write a work, he just sat down and wrote
it. It is obviously possible that ideas were continually occurring
to him before he actually wrote them down. We just don’t know.
Some support for this comforting theory comes from the fact
that he completed “The Revenge” in January 1886 and the Piano
Quintet in March 1886 and was not actually composing anything
as far as we know in the month or so between that and hearing
Brahms’s Fourth. Another consideration is that Stanford’s “Irish”
has no resemblance to the Brahms in its general tone, but arguably
has some kinship with Dvořįk’s Seventh, which had been
introduced to London in 1885. Stanford’s first movement contains
a possible recollection of Dvořįk’s slow movement, though
nothing like as obvious as the Brahms “quotation”. So maybe
the sheer fact that Brahms had written a new and apparently
magnificent Symphony was enough to set Stanford off without
waiting to hear it.
All
the same, I’d believe in this more happily if it weren’t for
that horn passage… But, you may say, if the ostinato motive
was taken from an Irish melody, surely Stanford had at least
as much right to it as Brahms? Rather curiously, too, the melody
as he quotes it in “Pages” appears in the “modal” form – as
in Brahms and as in the “horn quotation” in his own work, and
only there, while in the note in the score it is quoted in its
“normal” form. So just what was the original form of the melody?
The
trouble is, nobody has succeeded in finding it. Lewis Foreman
(in his notes to the Chandos recording) admits it’s a mystery
and leaves it at that. Stanford later edited the entire Petrie
Collection [now available as a Dover reprint], well over a thousand
melodies. The eye becomes a little bleary skimming through so
many tunes in the search of a small motive that may be in the
middle of one rather than at the beginning. My impression is
that it is not there. Furthermore, the actual melodic shape
does not even seem a typically Irish one. Paul Rodmell suggests
the “Lament for Owen Roe O’Neill” as the source. An arrangement
of this was included in “Fifty Songs of Old Ireland” which Stanford
had dedicated to Brahms in 1882, so it would indeed be pleasing
to find Brahms had lifted it from there. Unfortunately the resemblance
is tenuous and I am not really convinced. As quoted by Rodmell,
presumably directly from Petrie, the rhythm is at least the
same if not the notes. But in “Songs of Old Ireland”, the only
form in which Brahms could have known it, the dotted notes have
been evened out to quavers so even that resemblance disappears.
A
little closer, as Dibble points out, is “Oh, Where’s the Slave”.
This is one of Moore’s Melodies. In 1895 Stanford published
“Moore’s Irish Melodies Restored”. Prior to this these tunes
had been widely popular – in Europe as well as Great Britain
– in arrangements by John Stevenson. This tune at least has
the repetition and the modal form of the Brahms, even if the
third and fourth notes go down instead of up. There’s a problem
here, too. As “restored” by Stanford in 1895, the part of the
melody in question is in 3/4 time, like the “ostinato motive”
of the “Irish”. But in the Stevenson it is in 4/4. If Brahms
ever saw the tune – but would he have had time for Stevenson’s
Haydn-and-water arrangements? – he saw it in that form. It is
furthermore unlikely that Stanford himself knew in 1887 that
the Stevenson version – household music in Dublin when he was
a boy – was wrong. But in any case, if “Owen Roe O’Neill” or
“Oh, Where’s the Slave” are the solution to the mystery, the
fact remains that Stanford must have “fixed” whichever it was,
both as it appears in the “Irish” and as he “quoted” it in “Pages”,
to bring it in line with the Brahms.
There’s
another aspect to be considered. Stanford made extensive use
of musical quotation rather as Schumann concealed messages in
his scores by means of ciphers. For example, in the first movement
of his Fourth Symphony, illustrative of “Youth”, he quotes a
phrase from one of Brahms’s “Liebeslieder Walzer”, an allusion
to the fact that he met his wife-to-be in Germany. Furthermore,
it was not unusual for him to weave a quotation into a work,
only hinting at it at first, leaving you guessing – “is it or
isn’t it?” – until the quotation is fully revealed. The references
to the “Emperor’s Hymn” in “Ave atque Vale”, for example, written
for the Haydn centenary (1909), may seem only coincidences until
the theme emerges in all its glory at the end. Given that Stanford’s
ambition in 1887 knew no bounds, what is more possible than
that he boldly alluded to Brahms’s latest Symphony in his own
as a way of saying “Look, the Irish can compose symphonies too”?
Why
didn’t he admit this, if so? In truth, he never did provide
a clue to his allusions, they’re just there for you to find
and make what you will of them. And then, he can hardly have
dared hope, while composing the work, that it would soon be
played in Brahms’s own territory. What seemed a brave lark at
the time perhaps began to strike him as almighty impudence.
So, much as I love Stanford, I think he did a dirty piece of
backtracking, inventing an “Irish lament” that never existed
and claiming to his dying day that he’d used it in his “Irish
Symphony”. Fortunately, this needn’t prevent our finding it
a very beautiful movement.
Regarding
the finale, I must object to the claim in Richard Whitehouse’s
very poorly researched notes that “The ‘Irish’ subtitle indicates
its [i.e. the entire Symphony’s] frequent deployment of folk-tunes
as melodic material”. In the note to the score referred to above
Stanford identifies just two Irish folk-songs as having been
used – apart from the “problem” one – and nobody has ever suggested
he was economical with the truth in this case. They are both
in the finale, they both come from “Moore’s Irish Melodies”
and they are, respectively, “Remember the glories of Brian the
Brave” and “Let Erin remember the days of old”. I don’t call
that “frequent deployment”.
The
first of these strides in purposefully at the beginning. Many
commentators have noted how the tone and even the orchestration
seem to look ahead to Holst’s and Vaughan Williams’s folk-inspired
music. The second theme is warm and broad and is Stanford’s
own – or is it? More of this in a moment. A development seems
to begin. Whitehouse observes that the second theme is “slowed
down so that it resembles more a chorale”. And yet it is ostensibly
a new theme altogether! Stanford is here using a form of which
he is rather fond. After setting out in apparent sonata form,
the development is replaced by a new theme just glimpsed at,
which then returns triumphantly in the coda. The new theme,
in fact, is “Let Erin remember”, with soft trumpets heralding
a hoped-for dawn. The vision then fades, “Brian the Brave” strides
in belligerently and the recapitulation pursues its way until,
true to form, “Let Erin remember” rounds off as a patriotic
chorale a Symphony that is both attractive and satisfying.
However,
just as I was getting hot under the collar at Whitehouse for
not noticing that the second subject and “Let Erin remember”
are two different themes it occurred to me that he may have
noticed something that has escaped other observers, though I
am not sure if he has grasped the significance of what he has
noticed. Namely that, although Stanford clearly indicated the
page in the score on which “Let Erin remember” first appears,
thus implicitly claiming the second subject as his own, this
second subject has certain intervallic resemblances to “Let
Erin remember”. Enough to suggest it may have been loosely derived
from it. Coincidence or thematic transformation in the manner
of Liszt?
Stanford
showed considerable interest in thematic transformation during
this period as a way of binding a work together. Notable in
this respect is “Carmen Saeculare op.26”, a commission for Queen
Victoria’s Golden Jubilee that he interrupted the composition
of the “Irish” to complete. He wasn’t able to do much with Tennyson’s
sycophantic verse but he seized the opportunity for an ingenious
exercise in thematic transformation – all the themes are variants
of each other. So, thematic transformation being the name of
the day, I think we may take it that the resemblances between
the “original” second subject and “Let Erin remember” are deliberate
and aimed at binding the finale together.
In
view of its erstwhile popularity it is not surprising that,
when conditions made the recording of a Stanford symphony feasible,
the “Irish” was the one chosen. Played by the Bournemouth Sinfonietta
and conducted by Norman Del Mar, the LP was issued in 1982 (HMV
ASD 4221). Unfortunately, while tiny little Lyrita might have
booked one of the big London orchestras for the job, the EMI
colossus preferred to save its hap’orth of tar and record a
big romantic symphony with a chamber orchestra. It is true that
orchestras in Stanford’s day may not have been much larger,
but if the intention was to do a Historically Informed version
then other considerations needed to be made. As it is, Del Mar
produced the most expansive reading of the three now available
– nearly three minutes longer than Lloyd-Jones, almost four-and-a-half
minutes longer than Handley. He lingers affectionately round
the corners during the first movement, produces a sprightly
and vivacious hop-jig, gives the slow movement Brucknerian breadth
and manages to accommodate both the “moderato” and the “ma con
fuoco” markings of the finale. This remains the best conceived
reading so far, but it would have needed Berlin or Amsterdam
strings to do it full justice.
Handley’s
recording was set down in August 1986 and ushered in the first
complete Stanford Symphony cycle. When I first heard it I was
impressed by the overall drive of his first movement. Placing
it alongside Del Mar it is noticeable how Handley’s determination
to get on with it hampers the more lyrical moments. The vein
of nostalgia that emerges from Del Mar seems to me more genuinely
Irish. Applying Beethovenian discipline emphasises the Brahmsian
aspects.
Handley
is actually slower than Del Mar in the scherzo. It remains fairly
lively on its own terms but the plodding regularity of the underlying
beat make it ultimately more an interpretation for the bandstand
than for the concert hall.
The
slow movement engages Handley more. His opening and closing
tempi are similar to Del Mar’s but in the climaxes, where Del
Mar holds steady, Handley moves the music on more passionately.
It is a valid alternative except that, when the ostinato theme
is hammered out at the climax, the stolid inflexibility that
undermines so many of Handley’s performances takes its toll.
I
have seen great enthusiasm expressed for Handley’s finale. I
think this must be the opinion of a critic who doesn’t really
care for Stanford and who finds the Irish good company only
when they’re drunk. Handley jollies the music up. It may sound
lively and toe-tapping at the beginning, but then he pushes
through looking neither to right nor to left, regardless of
whether the tempo or the manner suit the music in hand. This
until the very end where the long rests between the final chords
evidently strike him as a waste of time, so he suddenly speeds
up the tempo most unmusically.
Lloyd
Jones is closer to Del Mar even if his overall timing is faster.
His tempo is similar to Del Mar’s in the first movement though
he lingers less over the transitions. He gets reasonably close
to the expansive, nostalgic character of Del Mar. He also follows
Del Mar in presenting a thoroughly vivacious scherzo and is
perhaps more affectionate still with the trio. He begins and
ends the slow movement very broadly. He doesn’t move forward
like Handley every time the music gets loud but he does speed
up for the central climax, quite effectively. His finale perhaps
finds a greater range of mood than any. The first appearance
of “Let Erin remember” on hushed trumpets has considerable poetry
– Handley doesn’t even try to get them playing really quietly.
On the other hand, Del Mar has more grandeur at the end.
No
version plays the first movement repeat, by the way – clearly
the new disc didn’t have room. I’m in two minds about this.
Not just because of the length – the Del Mar lasts about 14
minutes as it is – but because a strict repetition would destroy
that sense of rhapsodizing that I alluded to above. On the other
hand, the beginning of the development section and also the
coda dwell upon a phrase – the one reminiscent of Dvořįk
7/(ii) – that is heard for the first time in the lead-back to
the exposition repeat. In other words, if you don’t play the
repeat, Stanford is left developing a theme that apparently
isn’t part of the movement’s material.
The
conclusion would seem to be that Del Mar remains the finest
“Irish”, in spite of the orchestral limitations, but Lloyd Jones
will do very nicely while Handley won’t at all.
Stanford’s
success in Berlin led to an immediate return with the Fourth
Symphony, but it wasn’t a case of up and up. The Fifth Symphony
did make it to Berlin, after an interval of some years, but
he began to slip from view.
The
Sixth Symphony was written in 1905. Stanford himself
conducted the premičre with the London Symphony Orchestra at
the Queen’s Hall on 18 January 1906. Whitehouse states that
“it received only one more hearing before succumbing to an eighty-year
oblivion”. I’m not sure where he got his figures from since
Greene, Dibble and Rodmell between them mention a further performance
under Stanford (Bournemouth, January 1907), one under Landon
Ronald (Queen’s Hall, 2 December 1909) and one under Claud Powell
(Guildford, February 1923, part of a concert in Stanford’s honour).
That makes three further hearings and reduces the period of
oblivion to 64 years. Though it hardly transforms a case of
grievous neglect into one of excessive exposure.
The
Symphony was written “In honour of the life-work of a great
artist: George Frederick Watts”. Though it has no specific programme
Stanford named four works by Watts which had particularly influenced
it: “Love and Life”, “Love and Death”, “Good luck to your fishing”
and the equestrian statue “Physical Energy”. Whitehouse does
not name these – as Foreman did in his notes for the Chandos
recording – and I think most listeners would have found them
useful.
It
has been remarked that the opening of Stanford’s Second Piano
Concerto was his reaction to Rachmaninov’s Second, which he
had conducted with the composer as soloist not long before.
Similarly the leaping opening to this Symphony may have been
prompted by Elgar’s “In the South”, which Stanford conducted
at the Leeds Festival in 1904. It is an upfront, exuberant movement
which nevertheless relaxes at times into a friendly lyricism
rather redolent of such late Strauss works as “Capriccio” or,
more to the point – since Stanford knew this earlier work and
parodied it in his “Nonsense Rhymes” – “Ein Heldenleben”.
Handley’s
account certainly has a coursing energy. As his wont, having
started that way he continues that way, hustling through the
lovely lyrical phrases and relaxing only when absolutely compelled
to. Aided by a more spacious recording, Lloyd-Jones gives Stanford
breathing-room. The result is not less energetic, since the
syncopations are clearer and quite a lot of additional detail
emerges. But he is also able to relax winningly without losing
his way. The second subject on the cellos barely registers under
Handley; here it sounds absolutely lovely.
The
second movement opens with a hauntingly beautiful – and very
Irish – theme on the cor anglais. Much that follows is by turns
radiantly atmospheric and passionate, but the painting that
inspired it was “Love and Death” and powerful shadows cross
the music at times. Truly, I think this movement can stand alongside
other more famous cor anglais-led slow movements by Franck and
Dvořįk.
Handley
is at his best here, taking considerable care over the atmosphere
and general build-up. Lloyd-Jones is a tad slower and shapes
the music more, not indulgently but making the phrases breathe
as though they were sung. He also makes the “death” theme more
genuinely terrifying. Handley will seem good enough if you haven’t
heard Lloyd-Jones, but I can’t think of a clearer illustration
of the difference between time-beating and real conducting.
The
rest of the Symphony seems to me on a lower plane. The brief
and lively Scherzo would be fair enough if it were a moment
of relaxation between a glorious slow movement and a stirring
finale. An accelerando leads directly to a finale whose march-like
theme doesn’t quite deliver the goods. Under Handley it struts
and ultimately plods. Lloyd-Jones’s greater impetus and braying
brass led me to think I might see the point of the movement
at last.
It’s
fairly clear what Stanford was trying to do. The contrasting
material – rather short-breathed – gradually leads to hints
of the slow movement theme. After a ritual restatement of the
marching music things wind down until the slow movement theme
dominates in a peaceful coda, sounding almost but not quite
as beautiful as it did originally. So we have another case of
a theme which is seen distantly at first and then allowed to
emerge in all – or nearly all – its glory at the end. We have
noted that Stanford used this formula to inspiring effect in
the “Irish” and he made effective use of it elsewhere. In this
particular case all the striving achieves nothing that was not
achieved more beautifully twenty-five minutes earlier. Maybe
another conductor will convince me that this makes a successful
ending, though I get the idea that Lloyd-Jones has done pretty
well everything for it that can be done.
A
symphony with such a splendid first movement and such an absolutely
glorious slow movement obviously cannot be ignored. The last
two movements are disappointing above all in proportion to the
expectations aroused. In themselves they are lively and never
dull. They just don’t resolve the issues raised by the first
two.
David
Lloyd-Jones seems to emerge with increased stature from this
record. In most of the earlier releases in this series he was
superior to Handley, but not always by any very great margin.
What I hear on this disc suggests a conductor on a higher level
altogether. It’s a pity the Naxos cycle couldn’t have been better
annotated.
Christopher
Howell
see
also Review
by John Quinn