“I don’t claim to be a British composer”, said
Frederick Delius about himself. As the late lamented Christopher Palmer
observed, the composer was a true cosmopolitan. The best known composition
in this collection, the ever-popular
On Hearing the First Cuckoo in
Spring, is proof enough. Composed in 1912, it might be perceived as
quintessentially English, but it was written when Delius was living at
Grez-sur-Loing, south of Paris. Any cuckoo Delius would have heard then
would have been ‘French’; and the work’s tune was based on
a Norwegian folksong. Delius loved the scenic grandeur of Norway and its
effect on him was profound; it became his spiritual home. The Bergen
Philharmonic players respond instinctively to Delius’s idiom and so
sensitively to this little jewel - and all the other works in this programme
- delivering for Davis a sublimely tender reading. He is assisted by
excellent, beautifully-balanced, warm sound from the Chandos engineers.
Delius’s early Symphonic Poem,
Paa Vidderne (‘On
the Mountains’) has all the extravagant, indulgent Late Romantic
traits. The influence of Wagner and Tchaikovsky is clear coupled with Nordic
pastoral evocations. The emergence of Delius’s own individual style is
evident. The work anticipates Delius’s masterpiece,
The Song of the
High Hills. Davis delivers a thrilling, evocative performance of this
appealing work.
The latest work here is
Eventyr literally translated as
‘Tales of Adventure’. It is an atmospheric composition,
evocative of the Norwegian countryside: its fjords, mountains and forests.
It’s also descriptive of the ‘warm-hearted superstitious
country-folk’ and their fears especially of the trolls, giants, demons
and pixies that stalk the darkness. Davis’s reading is intensely
exciting and ominous through these pages although those shouts could have
been that bit more blood-curdling.
The most substantial work, time-wise, here, is Delius’s
Incidental Music for the play
Folkeraadet (The People’s
Parliament). The play debunked pompous, ineffectual politicians and was
inevitably controversial. Delius faced a storm of protest when it was
perceived that he was parodying the Norwegian national anthem. This suite
includes two brief ‘melodramas’ scored for strings; both
wistfully romantic in tone. As well as the ‘Act I Prelude’,
there are three ‘Interludes’, varying in mood from the jovial
and romantic to darkly tragic. It was Delius’s use of the national
anthem in the third interlude to underscore scenes of rows of coffins of
politicians slain in battle that caused such consternation in Oslo.
Soprano Ann-Helen Moen joins the Bergen players to sing Nos. 3 and 7
of
Songs from the Norwegian. These were
original written for
voice and piano and orchestrated by Delius in 1908 at the request of Olga
Wood: Henry Wood’s first wife. In ‘Twilight Fancies’,
Moen’s plaintive tone accords delicately with the Princess’s
plight. She first dismisses the horn player, then summons him again and
finally, in tearful despair, asks God “What is my great flaw?”
The enchanting ‘The Birds’ Story’ is much more joyful,
Delius skilfully evoking a delightful chorus of birdsong as two lovers enjoy
their afternoon’s tryst. That said, the orchestra intimates that their
parting might have been sad.
The joyful
Norwegian Bridal Procession - Delius’s
orchestration of the second of Grieg’s ‘Pictures of Norwegian
Life’ - has an appealing rusticity with folk dance rhythms and
birdsong allusions.
Sleigh Ride has long been a favourite Delius
miniature with its delightful picture of a sleigh journeying over snow,
bells a-ringing. Its lovely wistful middle section again shows the influence
of Grieg.
Another winning release in the continuing Andrew Davis Delius
collection.
Ian Lace
[78.32]
