For this reviewer, it seems absolutely fortuitous that this
stunning collection of British orchestral music commences with
Bill Alywn’s Symphonic Prelude: The Magic Island.
Let me explain.
In 1972 I was a teenager who had recently discovered classical
music in general and British music in particular. I was lying
in bed one Saturday morning as teenagers do, listening to Stereo
Review on Radio Three. In those days, as I was trying to expand
my musical knowledge: it was essential listening. I must have
nodded off but I gradually became aware a piece of romantic
music that just seemed to suggest the swing of the sea. I sat
up and listened, although I had no clue as to what it was. At
the end of the piece the announcer gave composer and title:
I had never heard of either. As soon as I was up and dressed
I headed into Glasgow. At that time there was a fine record
shop called Cuthbertsons in Cambridge Street. It is long gone,
but then it had a reasonably good selection of classical vinyl.
After a brief search I found the album with its distinctive
cover in the browsers. The Prelude was coupled with the composer’s
great Third Symphony. I recall it was quite expensive and I
had to raid my ‘emergency fund’ to secure. But I
was delighted. I read the sleeve-notes by William Mann over
and over again. When I got home it was straight onto the record
deck and, Boy! was I impressed. I had never heard anything like
it. At that time I knew Debussy’s La Mer: I had
not yet heard Bridge’s The Sea or even RVW’s
Sea Symphony. But I guess what surprised me most was
that here was a living - at that time - British composer who
had written such exciting, romantic, impressionistic and energetic
music. It was the start of my love affair with Lyrita Records.
A few months later, I found a Lyrita catalogue somewhere and
was both delighted and horrified to discover that there were
a considerable number of records - all of which seemed ‘musts’
for my slowly expanding collection. Like many people, I bought
them as and when I could - Christmas presents, birthday gifts
and the occasional lucky find at the inimitable Glasgow institution
called The Barras!
In the late ’seventies I moved to York. There I discovered
the Aladdin’s cave of Banks Music Shop. At that time the
gentleman who managed the record department was an authority
on both British music and the Lyrita record company. We had
long conversations. He was able to order me many of the early
mono LPs that I had never before seen in the shops. Over the
next ten years or so I managed to collect more or less all the
LPs. There was one noted in an old copy of the Gramophone Catalogue
that I never found - the Villa Lobos piano works played by Elizabeth
Powell. It was to remain elusive until just a few weeks ago
when Lyrita issued it on a fine double CD.
And then disaster struck! Someone invented the CD. Like many
people I guess that I hoped it would not ‘take off’
- but it did! And where did that leave my collection of Lyrita
vinyl? I am careful with books and records and discs, but over
the years some of my favourites became a little careworn. I
even bought an additional copy of Jack Moeran’s Cello
Concerto as I felt I could not live without it, should I scratch
or damage my copy. So, like many folk I had to stop being a
Luddite and prepare to open my wallet!
One day, my record dealer at Banks told me that Lyrita were
about to release some CDs. I knew that I would have to update.
He also told me that there was a problem at the record company.
It seemed that Richard Itter was not prepared to transfer the
entire back catalogue to the new format. In fact, the man at
Banks Music felt that most of these historic recordings would
largely disappear into the archives. Tantalisingly, he told
me that many more British works had been recorded and that they
would probably never see the light of day. A little later some
31 CDs were issued, and naturally I had to buy most of them.
And finally a few years ago it was announced that the entire
back catalogue was to be released on CD. But most interesting
of all was a wide variety of works that had never been released
on vinyl was to be included as a part of this project. What
the Banks record shop manager had told me really had been true!
I do not intend to pick over the content of these eight CDs
- this has been done admirably by the Classical Editor. However
I will point out what are to me some of the highlights of this
selection. The present collection is excellent in so far as
there are relatively few extracts of single movements from symphonies
or concertos. Out of some fifty works there are only eight or
so symphonic movements. Virtually all the other pieces are stand-alone
works that could be offered at a concert.
The fifty compositions are presented in composer-alphabetical
order across the eight CDs. Naturally, I was delighted with
Alwyn’s The Magic Island. But immediately after
this Prelude is the lesser-known of Sir Malcolm Arnold’s
English Dances: the second set. Bax is represented by his “impression
of the fiery romantic life of the Highlands of Scotland”,
the Northern Ballad No.1. I am always delighted to hear
any performance of Lennox Berkeley’s Serenade for Strings
and this version conducted by the composer is ideal. Peter
Katin’s performance as soloist in Gerald Finzi’s
Eclogue holds a special place in my affections. This
is one of my favourite works and it was this version that introduced
it to me many years ago. I am delighted that John Foulds’
Mantra of Bliss has been included as this is representative
of a great work (the Three Mantras) that remains relatively
unknown. Alun Hoddinott’s fine second set of Welsh
Dances is a treat as is Herbert Howells’ Merry
Eye. I could have noted works by Bantock, Bridge, Delius,
Ireland and Hurlstone, but special mention must be given to
Ruth Gipps’ Horn Concerto and Patrick Hadley’s One
Morning in Spring.
The second set contains an equally impressive collection. I
was pleased to see the first movement of Daniel Jones’s
Dance Fantasy and the Sinfonietta by fellow Welshman
William Mathias were selected. I was equally impressed with
the fine recording of Cyril Scott’s Early One Morning
with John Ogdon as the soloist. I was glad that Parry was represented
by his great Symphonic Variations and Stanford by his
Irish Rhapsody No.4: The Fisherman of Lough Neagh
and what he saw. It is important that Cyril Rootham’s
fine First Symphony has been excerpted; this is a work that
demands to be better known. The same can be said of Robert Still’s
Third and Gordon Jacob’s First. The only piece that was
absolutely new to me was the superb Overture: Santiago de
Esapda by Malcolm Williamson. Finally, I feel that it was
a good decision to include Peter Warlock’s An Old Song
for small orchestra rather than the better known Capriol
Suite or Serenade.
I feel guilty omitting the many other fine works that make up
this compilation but if I am honest each and every one of these
fifty pieces makes up a fine overview of all that is best in
British music. Each listener will be struck by a different set
of favourites.
The question I have asked myself is this. Who is going to buy
this double-boxed 8 CD set? I for one have virtually all these
recording and pieces as part of my collection. I am sure that
many readers of MusicWeb International will be the same. So
I sat in the garden one warm October day and puzzled. Like the
vicar once said, there are three points: three groups of people
that this collection will appeal to. Firstly, there may well
be those music enthusiasts who are comfortable with the ‘big’
pieces of British music - Elgar’s Cello Concerto, Vaughan
Williams’s Tallis Fantasia and Fred Delius’s
Walk to Paradise Gardens. But the rest of the corpus
of British music is a closed book. They may not have the courage
(or the wherewithal) to go into HMV and buy a CD of Symphonies
by Robert Still or John Joubert’s Symphony No.1 on a whim.
They have no way of really knowing whether they would like it
or not. And even if they listen to short 30 second extracts
on the ’Net, it is hardly a basis for forming an opinion.
So for these people this collection could be an ideal gift or
introductory sampler. It will allow them to explore further
and confidently to purchase recordings of music and composers
of which they have no or little knowledge.
The second group of people that it occurred to me that this
set will appeal to are those who feel that just want to listen
to some British music. They are perhaps a little tired of the
half a dozen favourites played day in and day out on Classic
FM and feel they want a bit more variety: and a new challenge.
They want to be introduced to the wealth of British music but
have neither the time nor the inclination to investigate under
their own steam. They want a package of great music that is
ready made for them. I can think of no better purchase than
these eight CDs.
And thirdly, it will be a required purchase for all collectors
of things Lyrita. I imagine there are a fair few folk out there
who have virtually everything that the company has produced
over the past fifty years. This collection will be a fine overview
of their stack of vinyl and drawers full of CDs. A kind of keepsake,
really. As a self-confessed musical snob, I have usually avoided
extracts and samplers. It is the complete work for me. But there
are occasions when there is just not the time to listen to a
complete symphony of concerto. Sometimes a movement has to do.
I for one will use this set as a source of inspiration when
I have only a few minutes to spare. Like many people I will
put it onto my iPOD and will enjoy picking out a track or two
whilst sitting at the station waiting on the train to London
Euston.
A few final observations. Paul Conway has done an excellent
job in producing short and straight-to-the-point sleeve-notes
for this edition. Normally I like an essay on each work, but
in this particular case brevity is entirely appropriate. Secondly,
unlike many ‘samplers’ there is a complete track-listing
along with details of orchestras, soloists and conductors. Also
noted are the catalogue numbers of the CDs where each track
has been extracted. The Editor has regretted that the dates
and location of the recording are omitted. Maybe this would
have made the listings a touch unwieldy. However, most of these
works have been reviewed on MusicWeb and this information can
easily be found there. There are two fascinating personal recollections
of Richard Itter by Edward Greenfield and Lewis Foreman. Both
are required reading for all Lyrita enthusiasts. And finally
the booklets have been graced with some dozen excellent photographs
of some of the conductors.
John France
see also review
by Rob Barnett
Editor’s Note
Lyrita are offering a free limited edition poster to people
who purchase the sets. Inside each box will be a bounce-back
card and as long as people fill in their postal address they
will be sent a copy of the poster. The Poster is A3 in size
and features eleven rare and unique photographs taken at Lyrita
recording sessions including Kenneth Wilkinson, Sir Adrian Boult,
Tod Handley, Joy Finzi, Norah Kirby (John Ireland's house-keeper),
John Ogdon, Elizabeth Maconchy, and even Richard Itter.
