Music of the Four Realms
Royal Scottish National Orchestra/Alexander Gibson (Arnold, Hamilton)
Philharmonia Orchestra/George Weldon (Harty, Suo-Gan &Walton, March)
Sinfonia of London/Robert Irving (Banks & Sullivan & Walton, Two Pieces), Douglas Gamley (Arne), Arthur Bliss (Purcell/Bliss)
Scottish Baroque Ensemble/Leonard Friedman (Williamson)
City of Prague Philharmonic Orchestra/Anthony Askew (Purcell/Hope)
No recording details.
HERITAGE HTGCD169 [77:26]
The album gets off to a great start with Malcolm Arnold’s superb Scottish Dances, composed in 1957. From the vibrant strathspey in the opening pesante movement to the rumbustious dance fling of the concluding con brio, by way of the occasionally drunken reel and the gorgeous Song of the Hebrides, this is a splendid and in no way patronising composition. Alexander Gibson, and the then Scottish National Orchestra, give a vivacious and sympathetic account.
Now we move to England. Australian-born Don Banks provides an interesting set of Elizabethan Miniatures. Added value is Michael Flanders’s Shakespearian narration taken from Lorenzo’s speech “How sweet the moonlight sleeps” from The Merchant of Venice.
It could be argued that the topographical setting of The Bard’s The Tempest is furth of the Realm, perhaps in the Mediterranean or even the West Indies. Even so, Arthur Sullivan’s delightful Dance of the Nymphs and Reapers extracted from the incidental music written in 1861 is English in every way. This is followed by Thomas Arne’s setting of Blow, blow thou winter wind thoughtfully arranged for flute and orchestra by Australian composer Douglas Gamley.
I have always loved William Walton’s Two Pieces from Henry V (1945) from the film music composed for Olivier’s Henry V: The Death of Falstaff and Touch her soft lips and part. Interestingly, Falstaff does not have a death-scene in Shakespeare’s original play: it was interpolated into the film by Olivier. Falstaff was a “boon companion” to Prince Hal, although he did receive some harsh words from the king. The second piece, melancholy and sad, depicts many fond farewells past, present and future.
Iain Hamilton’s Scottish Dances, also performed by Alexander Gibson and the SNO, are displaced by over 3000 miles. Despite having several nods towards Scottish music, the jazzy, smoochy mood often suggests a night club in downtown New York rather than a ceilidh in Nairn. Yet it is a great piece that ought to be in every Scottish orchestra’s repertoire.
George Weldon’s arrangement of the heart-breakingly beautiful lullaby Suo-Gan takes us into the Principality of Wales. It is an old favourite. The mood lightens with Ulster-born Hamilton Harty’s bright portrayal of The Fair Day. It is the second movement of his Irish Symphony completed in 1904. The local fiddler tunes up and then begins a reel: The Blackberry Blossom. Further melodies are used in this well-written scherzo. A respite is gained with the folk song The Girl I left Behind me. Harty was attempting to mimic the Ulster marching bands.
Malcolm Williamson’s Six English Lyrics are a discovery for me. These attractive songs were written in 1966 especially for the “Britten stalwart Nancy Evans”. They are settings of poems by Edmund Waller, Alfred Lord Tennyson, Christina Rossetti and Leigh Hunt. It is unfortunate that these songs have not kept their onetime popularity. Texts are not included in the liner notes.
Two works by Purcell come next. The first is a bouncy arrangement of Lilliburlero by the doyen of English light music Peter Hope. The second is the rarely heard Set of Act-Tunes and Dances devised by Arthur Bliss in 1921. There are five diverse movements: Overture (The Gordian Knot), Air (Distressed Innocence) a Saraband (Amphitryon), Minuet (Distressed Innocence and Hornpipe (The Married Beau). This excellent recording was made by Bliss in 1960.
The final work is William Walton’s Orb and Sceptre March composed for the Coronation of Her Majesty the Queen on 2 June 1953. It has never been quite as popular as the Crown Imperial March written for her father King George VI. The Sinfonia of London conducted by Robert Irving gives an inspiring and convincing performance.
The liner notes give all the information needed to enjoy this varied repertoire but there are no source details of the recordings. It would be injudicious to guess where they might have originated. That said, the excellent re-mastering gives no cause for concern.
This is a delightful exploration of favourite and forgotten British music culled from the Four Realms of the still-United Kingdom. It is performed by a variety of accomplished orchestras, conductors and soloists.
John France
Contents
Malcolm ARNOLD (1921-2006)
Scottish Dances, op. 59 (1957) [8:42]
Don BANKS (1923-1980)
Elizabethan Miniatures (pub. 2001) [8:46]
Arthur SULLIVAN (1842-1900)
Dance of the Nymphs and Reapers (from The Tempest) (1861) [3:02]
Thomas ARNE (1710-1788)/Douglas GAMLEY (1924-98)
Blow, blow thou winter wind (?) [2:54]
William WALTON (1902-1983)
Two Pieces from Henry V (1945)\
Death of Falstaff [2:57]
Touch her soft lips and part [1:44]
Iain HAMILTON (1922-2000)
Scottish Dances, op. 32 (1956) [11:39]
Welsh Traditional/George WELDON (1908-1963)
Suo-Gan (1963) [3:17]
Hamilton HARTY (1879-1941)
The Fair Day (An Irish Symphony) (1904, rev.1915, 1924) [2:49]
Malcolm WILLIAMSON (1931-2003)
Six English Lyrics (1966) [12:08]
Henry PURCELL (1659-1695) / Peter HOPE (b. 1930)
Lilliburlero (1950s) [2:58]
Henry PURCELL / Arthur BLISS (1891-1975)
Set of Act-Tunes and Dances (1921) [7:57]
William WALTON
Orb and Sceptre Coronation March (1953) [7:26]
Soloists
Michael Flanders (speaker), Ambrose Gauntlett (viola da gamba), Desmond Dupré (lute, Banks), Edward Walker (flute, Banks & Arne), Yvonne Lea (soprano, Williamson)
