Moeran’s large-scale
Symphony in G minor, completed
in 1937 after a long gestation, is one
of his major achievements. It is a substantial
work in four sizeable movements. It
is a piece that does not pale when compared
to some of the finest British symphonies
composed at about the same time (Walton’s
First, Vaughan Williams’ Fourth and
Bax’s Sixth, to name but a few). As
is well known, too, the first recording
conducted by Leslie Heward was one of
the recordings issued under the British
Council’s auspices during World War
II (this recorded performance is available
in CD format - Dutton - and still sounds
remarkably well). As such this is ample
proof of its high status and of the
esteem in which Moeran was then held.
It is full of unmistakable Moeran fingerprints;
for, if influences (RVW, Sibelius, Delius,
Bax and even Ravel) may be easy to spot,
Moeran’s music remains immediately recognisable.
Indeed, he managed to absorb and assimilate
all these influences and to make of
them something highly personal; the
mark of a great composer. The movements
roughly adhere to the traditional symphonic
mould, including a brilliant, folk-like
Scherzo and an impressive, if brooding
and at times menacing slow movement.
The final movement ends in an ambiguous
manner, with massive but – on the whole
– inconclusive chords, as if leaving
many questions unanswered. In his indispensable
book The Music of E.J. Moeran
(Toccata Press 1986), Geoffrey Self
rightly suggests that the answer is
to be found in the beautifully lyrical
Violin Concerto of 1942
(Chandos CHAN
10168X).
By comparison, the
Rhapsody No.3 for Piano and Orchestra
(1942/3) and the Overture to a
Masque (1943/4), both wartime
works, are somewhat lighter in mood,
but – I think – deliberately so. The
Rhapsody, first performed
during the Proms, is Moeran at his most
extrovert, a beautiful piece that clearly
pays some admiring tribute to Ravel;
and Geoffrey Self again suggests that
it is a symphonic Waltz in all but the
name, with some direct allusions to
Ravel’s Valses nobles et sentimentales.
This attractive and enjoyable piece
was well received by the Proms audience
for whom it was composed. It enjoyed
several later performances, which makes
its present neglect all the more surprising.
Margaret Fingerhut plays beautifully
throughout in the Third Rhapsody.
Overture for
a Masque is one of several short
works written at the request of ENSA.
Others included Rawsthorne’s overture
Street Corner and Bax’s
Work in Progress. Again,
it is deliberately extrovert, uncomplicated,
but superbly crafted and hugely enjoyable
- a work of great charm and appeal.
So, why is it not heard more often?
Vernon Handley conducts
vital and committed performances of
these works, and his sympathy for the
music is refreshingly convincing. Remember
that Moeran featured in one of Handley’s
early recordings (the Serenade
in G on Revolution RCF 003 -
now reissued on the Concert
Artist label ). I had never heard
these performances of the symphony and
the overture before; I enjoyed them
enormously. I know too that many believe
Boult’s recording made for Lyrita to
be the one to have; but I must admit
that to date I have never been able
to hear. I have happily lived with Neville
Dilkes’ recording on EMI for many years.
Lloyd-Jones’s recording for Naxos I
found slightly disappointing, but I
think that my reservations about this
performance have more to do with the
recording than the actual performance
which is very fine indeed. Now, re-issued
at budget price, Handley’s reading may
be safely recommended.
Good news, then, since
Chandos are now refurbishing their Moeran
recordings. These are now available
in superb performances and at budget
price. You need not hesitate if you
do not have recordings of these works
on your shelves.
Hubert Culot
Ulster Orchestra/Vernon Handley 