I have said this before, but it bears repeating: it is hard
to imagine that a quarter of a century ago there was virtually
no music by William Alwyn in the record catalogues. The Lyrita
symphonies were an honourable exception. Then, in the nineties
there was the Chandos series. And now Naxos is getting close
to finishing their release of the largely complete orchestral
music. I guess the added value of this particular cycle is that
Naxos have discovered a number of works that were deemed lost.
The present CD includes two orchestral (or is it three?) premieres
alongside three (or is it two?) works that are less well known,
but deserving of greater exposure.
The earliest piece on this CD is the Serenade which was
written in 1936 although it appears that it was never performed
in the composer’s lifetime. Certainly this not a pastoral ‘English’
serenade, in fact, it was Ravel who sprang to mind when I first
heard it.
The work is in four contrasting movements. It begins
with a Prelude which opens from a little trumpet motif into
something expansive, especially for a movement that lasts just
over two minutes. The second movement is a ‘Bacchanal’ which
is really an attractive little scherzo. There is a good part
for flute solo, that depicts ‘a piping faun leading a rout of
naked nymphs and satyrs’. Once again, this develops into a sequence
of huge climaxes in the space of a few seconds. The ‘Air’ is
written for muted strings only. It is based on an elitist quotation
from Nietzsche’s Thus Spake Zarathustra, ‘...beauty’s
voice speaketh gently: it appealleth only to the most awakened
souls’. The finale has ‘Home thoughts from Abroad’ written at
the head of the score. Does this refer to Browning’s poem, or
is it more personal? The resulting music is a little bit ‘folksy’,
but can been seen as nodding towards Dvorák - even down to the
'Hovis’ music impression at the midpoint.
Taken in the round, this is not really a consistent piece. My
main criticism is that there is an immense amount of ‘potential
‘in the varied material generated by the composer for this work,
yet it is only some eleven minutes long. It seems that Alwyn
has wasted so many good ideas and has tricked the listener into
expecting something larger and more profound. However, it is
good have at least one recording of it for the ‘record’.
In 1923 Alwyn had selected a number tunes from the Petrie
Collection of Irish Music and produced a set of Seven
Irish Tunes for string quartet. In 1936 he chose to arrange
most of them for small orchestra. The tunes are ‘The Little
Red Lark’, ‘Country Tune,’ ‘The Maiden Ray,’ Reel: ‘The Ewe
with the Crooked Horn,’ ‘The Gentle Maiden,’ ‘The Sigh’ and
a ‘Jig’. I have not heard the string quartet arrangements; however
the present orchestral version works very well. It shows that
the thirty-one year old composer had a fine ear for orchestral
colouring. It was an accomplishment that would stand him in
good stead, especially with his interest in writing film scores.
These pieces are receiving their first recording.
I have known the brass-band version of The Moor of Venice
since Chandos released ‘Brass from the Masters Volume 1’ back
in 1997. Four years later, Philip Lane arranged this piece for
full orchestra: the original work was written in 1956 as a BBC
Light Programme commission. The idea behind the piece is a compression
of the ‘plot’ of Shakespeare’s Othello. This is an attractive
work that has the feel of a film score about it; however, it
is not really a piece of ‘light’ music as suggested from the
original commission. I enjoyed the orchestral version, but am
not quite sure why it was/is necessary? The brass band incarnation
seems to serve its purpose perfectly well. And I guess that
it is more likely to be performed in that format rather than
full orchestra.
The main events on this CD are the second and third Concerti
Grossi. Naxos has already recorded the first of the series on
8.570704.
The Concerto Grosso No.2 was composed in 1948 and is dedicated
to Muir Mathieson. This dedication is appropriate for two reasons:
Mathieson was the conductor of many of William Alywn’s film
scores and, secondly, there is a definite ‘film music’ feel
to some, but not all, of this work.
This Concerto Grosso is scored for a string quartet group with
a full string orchestra, although only the first fiddle of the
‘concertino’ seems to have an involved part. It certainly nods
to Handel on a number occasions even if it is not a pastiche.
The opening and closing movements are lively and cheerful however
I enjoyed the second movement best which is more complex and
profound and has been likened to a ‘Homage to Dvorák’. It is
truly lovely music. The quality of the scoring is impressive,
although the string quartet part is hardly virtuosic - as composed
by Alwyn, not as played! There is a good contrast between the
'straightforward’ themes and their ‘vigorous elaboration.’
The Concerto Grosso No.2 was premiered at the Royal Albert Hall
on 7 May 1950: Sir Malcolm Sargent conducted the London Symphony
Orchestra.
The Concerto Grosso No.3 is the masterpiece on this CD.
In fact, I think it is one of William Alwyn’s most accomplished
works. The score was completed at Blythburgh in 1964. It is
important, to realise that it was a BBC commission to mark the
twentieth anniversary of the death of Sir Henry Wood (1869-1944).
Alwyn has written that ‘throughout the years between the wars
Sir Henry Wood was the focus of my musical world. I played in
his orchestras and he performed my music – the first at a Prom
in 1927.’ (see
review) It is a genuine tribute from a grateful composer.
In this work there is no use made of the ‘concertino’ group
of soloists that is so characteristic of the ‘classical’ concerto
grosso form. In this work the three sections of the orchestra
interplay with each other. However in the first movement the
brass dominates, in the second it is the woodwind and finally
in the last is it the strings turn to take the lead.
However, if the listener thinks that this Concerto Grosso is
going to be a ‘po-faced’ elegy to the great man, then they are
hugely mistaken. In fact, Alwyn has suggested that it is largely
written on ‘broad vigorous lines’ rather than in a ruminative
style. However, the final movement is heart-renderingly beautiful,
without being morbid. It is a fitting and ultimately optimistic
tribute to one of the greatest figures in British music.
I enjoyed this CD, especially the Concerti Grossi. However I
do feel that the other works, although interesting, are not
essential. Nevertheless, they will be part of
every William Alywn enthusiast’s collection and will allow scholars
and listeners to gain a wider understanding of the composer’s
art.
The sound quality of this disc is excellent, especially so in
the concertos. I enjoyed the crisp performances and I was very
impressed with the liner notes by Andrew Knowles: they are informative
and comprehensive.
As to the future, I do hope that Naxos will issued the Manchester
Suite, the school orchestra music and the Coronation
March (if these scores are available). Apart from those
pieces, I guess that most of Alwyn’s orchestral works are now
available on CD. This is a magnificent achievement that I could
never have imagined in my wildest dreams some 40 years ago.
John France
Alwyn discography
and review index
Royal Liverpool Philharmonic Orchestra/David Lloyd-Jones 
