Paul CORFIELD GODFREY (b.1950)
The Children of Húrin: Epic Scenes from the Silmarillion after the Mythology of JRR Tolkien - Part Three (1982)
Morgoth, the Enemy - Laurence Cole (bass)
Húrin, Lord of the House of Hador; Gwindor, a Lord of Nargothrond - Julian Boyce (baritone)
Túrin, his son - Simon Crosby Buttle (tenor)
Morwen, Wife of Húrin - Helen Greenaway (mezzo)
Niënor, Daughter of Húrin - Angharad Morgan (soprano)
Saeros, Councillor of Doriath; Dorlas, a woodsman - Michael Clifton-Thompson (tenor)
Mablung, Captain of Doriath - Stephen Wells (bass)
Beleg Cuthalion, Captain of Doriath; Brandir, Lord of the Men of Brethil - Philip Lloyd-Evans (baritone)
Finduilas, Princess of Nargothrond - Emma Mary Llewellyn (soprano)
Glaurung the dragon - George Newton-Fitzgerald (bass)
Louise Ratcliffe (mezzo)
Jasey Hall (bass)
Volante Opera Chorus
Volante ‘Symphonic Orchestra’
Virtual orchestra created using EastWest Software/Quantum Leap
Detailed synopsis included. No texts – available online, with detailed musical analysis.
Released 2020.
PRIMA FACIE PFCD126/7 [78:11 + 56:21]
Paul Corfield Godfrey’s continues with his epic compositions of Tolekin’s Silmarillion with this recent CD release of The Children of Húrin. As in my previous review of Beren and Lúthien, I find it difficult to navigate the story of these works as I am not a Tolkien aficionado and I am experiencing them purely from the standpoint of a musical entertainment; and there is plenty of it to experience.
The Children of Húrin should seem to be a culmination of the work that Mr Godfrey has done on this series, although I note from the final page of the booklet that there are at least three more CD sets forthcoming that will look at other works by the celebrated Welsh author. It appears that for this composer Tolkien is a source of limitless inspiration for his muse. Immediately on placing the first disc into my player an impressive sounding prelude launched forth from my speakers. In the booklet Godfrey speaks about jean Sibelius and in particular his Kullervo Symphony as a model for what he was trying to achieve. I am also able to detect influences from Arnold Schoenberg’s early masterpiece Gurre-lieder, Karol Syzmanowski’s King Roger and even some of Bohuslav Martinů. Once or twice I felt the influence of Pietro Mascagni peeking out at me in the score. These are all exalted company in which to find comparison, and I really applaud Mr Godfrey for the breadth of his achievement and the quality of his writing and facility in orchestration.
For the Beren and Lúthien release, my largest frustration was being unable to make out the words that were being sung by the soloists and the choir. I can happily report that that was not the case on this set perhaps because a larger share of the music goes to the soloists rather than the choir in this work. However, being able to understand the text more did not mean that I had any better grasp of the plot. If I have one criticism of the work, it is that I think that Mr Godfrey may be trying to include too much of Tolkien’s literature in his work at the expense of a clear and understandable narrative. Even so, I found much to enjoy in this set and I look forward to the day that this work will be heard with a real orchestra and full chorus when his achievement will make its full effect. On this release the soloists are never less than reliable and often they seem truly engaged in what they are doing. For myself, the digitally synthesized orchestra remains a barrier to full enjoyment but it does what it sets out to do, which is to get this music out in the world to be experienced in the hope of one day achieving its first live concert.
Mike Parr
Previous review: Brian Wilson
