Elizabeth MACONCHY (1907 - 1994)
The Land (1930) [16:37]
Concertino for Piano and Chamber Orchestra (1928) [14:35]
Music for Woodwind and Brass (1966) [9:00]
Symphony for Double String Orchestra (1952/3) [23:48]
Clelia Iruzun (piano)
BBC Scottish Symphony Orchestra/Odaline de la Martinez
rec. City Halls, Glasgow, 23-24 March 2009
LORELT LNT 133 [64:05]
Maconchy's early but remarkably assured Concertino for Piano and Chamber
Orchestra was first performed in Prague in 1930 played by fellow-composer
and pianist Erwin Schulhoff. The young composer's career could not have had
a more auspicious start. The music of this concise but eloquent work already
displays a number of characteristic fingerprints: clear-cut ideas, a lively
sense of rhythm, a liking for stringent dissonance and - more generally -
an inclination towards central Europe rather than pastoral England. Maconchy's
models in this youthful work are Prokofiev and Bartók, which does not
imply blunt imitation. The composer has her own idea about how the music should
go. The outer panels are rhythmically lively and frame a lovely central movement.
The orchestral suite The Land was first performed by Sir Henry
Wood at the Proms and highly regarded by the likes of Holst, Tovey and Vaughan
Williams which says a lot about the music's quality. Inspired by Vita Sackville-West's
eponymous poem the work may be regarded as Maconchy's take on the Four Seasons
although the composer clearly avoided anything picturesque, the music reflecting
the words prefacing each of the movements. Winter unfolds from the
bass. The music slowly opens up, reaches a climax and then subsides to its
close. This introductory movement somewhat brings to mind the first movement
of Bartók's Music for Strings, Percussion and Celesta.
Spring is in total contrast. The music rushes along with unabated energy
and reaches a bright climax. Summer “captures the languor of
a sultry summer day” (Nicola LeFanu), but the music is again miles away
from what Delius might have written - and actually did. The concluding movement
Autumn is again a joyous affair full of lively rhythms and colour catching
the spirit of the words from the poem : “The young men strained upon
the crank/To wring the last reluctant inch./They laughed together, fair and
frank/And threw their loins across the winch...”
Music for Woodwind and Brass was commissioned by Morley College, London,
where Holst and Tippett were once very much active. The music of this concise,
tightly knit piece is rather austere and may indeed bring that of Holst to
mind - I think of Hammersmith. This is the first professional
recording of the work since it was recorded by the Irish Youth Wind Ensemble
several years ago and available as a non-commercial disc including works by
Irish composers of various generations.
The imposing Symphony for Double String Orchestra is one of
the unquestionable masterpieces in Maconchy's output. It also clearly belongs
to the glorious series of British works for string orchestra. Some time ago
I reviewed the Lyrita re-issue (SRCD.288)
of it and I will best refer anyone to my earlier review. Suffice to say that
the Symphony is fully mature and the composer displays her craftsmanship to
the full while always keeping expression in mind. This is one of Maconchy's
finest works and one that is all-too-rarely heard so that this - its second
recording - is most welcome. De la Martinez has to compete with that arch-champion
of British music, the late Vernon Handley who then conducted a splendid recorded
performance of this masterly work. However, there is not much to choose between
the performances. Both are fine, that by Handley a tad weightier although
the strings of the BBC Scottish Symphony Orchestra are far from being under-nourished,
so that one may be happy to have two recordings of that wonderful piece. I
would add that both discs are a must for any admirer of Maconchy's music because
this one has several hitherto unrecorded and rarely heard works whereas the
Lyrita offers the first recording of another substantial work: the Music
for Strings.
I find it particularly heart-warming to witness renewed interest in Maconchy's
music and one has to be grateful to 'smaller' record companies for investing
in such underestimated repertoire that nevertheless deserves to be better
known. I just want to remind you that Lorelt also released a disc of Maconchy's
choral music (LNT
127 that I reviewed here some time ago) and that Chandos released a recording
of this composer's two one-acters (CHAN
10508 that I also reviewed here). So one may keep one's fingers crossed
hoping that more will be coming soon. In the meantime one has to be happy
with what is readily available, which is not too bad actually.
This is a disc that I have been long awaiting and I am happy to report that
all my expectations have been amply fulfilled. It will appeal strongly to
any admirer of this fine composer's music although I am sure that others may
also find much to relish here.
Hubert Culot
see also review by Rob
Barnett
A most welcome addition to Maconchy's growing discography.