Cliffe and d'Erlanger Violin Concertos from Hyperion

[albion]

However, on the strength of the reviewer's evident enthusiasm for the d'Erlanger, no doubt many people will purchase the disc and be won over by the Frederic Cliffe concerto. Radio programmes such as this show the power of media exposure - I've just ordered the Klughardt! 

[Alan Howe]

Off-topic, but you'll enjoy the Klughardt CD. Marvellous stuff, well-known in its day, and an important rediscovery in the form of the meaty VC. Meanwhile, back at the Hyperion ranch...

[Mark Thomas]

Back on topic  , I can quite understand why the BBC reviewer was bowled over by the d'Erlanger at the expense of the Cliffe. It is such an attractive work. I do think that the Cliffe is the stronger piece by some way, but the glittering allure of the d'Erlanger on first hearing is hard to resist. Putting the two pieces together on the same CD makes for a fascinating comparison.

[Alan Howe]

Spot-on, Mark. Which shows the dangers of reviewers airing their opinions in public without having devoted sufficient time in order to grasp a piece of unfamiliar music properly. Thus the d'Erlanger VC - the more showy piece - is considered superior to the Cliffe - the more substantial piece. Oh, the dangers of the perceived need for instant authoritative opinions in an impatient and superficial age...

[Lionel Harrsion]

As I said in an email to my co-conspirator, Patrick Meadows, "The other pieces on the disc (the Concerto and a 'Poeme' by Baron 
Frederic d'Erlanger) are schmalzily ear-tickling in their own way and the concerto, while it has some nice tunes and some felicitous bits of orchestration, is a ramshackle, jerry-built affair; it sounds pretty impressive until you hear the Cliffe Concerto (which comes last on the disc) and then you realise that one was a real composer and the other just a very gifted dilettante".  And so say all of us, it seems!

[Alan Howe]

Absolutely right, Lionel. Now tell us about Cliffe 2...

[Lionel Harrsion]

Your wish is my command, Alan!  Cliffe wrote his second symphony in 1892, and it was first performed at the Leeds Festival in that year under Sir Arthur Sullivan, Cliffe's former composition teacher and the Festival Director between 1880 and 1898.  Jürgen Schaarwächter, in his essay about Cliffe's symphonic music on Musicweb-international.com, tells us that it was also performed at Bournemouth on 13 November 1902, but that he has been unable to detect any later performances.  Given the quality of the work, this is astonishing.  As far as Patrick and I are aware, our edition represents its first publication and printing.  The MS is housed in the library of the RCM.

The movements are entitled, respectively: At Sunset, Night, Fairy Revels, and Morning.  'At Sunset' is a powerfully refulgent picture – it has real sweep and richness that might, at some moments, make listeners think they are hearing something of Delius (the two composers were born not many miles apart, of course).  'Night' starts and finishes quietly mysterious but in between there is a good deal of sinister rustling and chirruping produced by the use of some orchestral techniques which, although definitely pre-Bartok, are surprisingly modern for the time!  While 'Fairy Revels' can't avoid some Mendelssohnian overtones (the principal tempo being Presto leggierissimo), the repeated alternations of metre would have had Felix reaching for the sal volatile (and which must have kept Sir Arthur on his toes).  There is a representation of sunrise at the start of 'Morning' but it only lasts 19 bars (marked Poco lento) and Cliffe is obviously keen to be up and doing since thereafter the movement bustles brightly along in a hive of activity (with scarcely a hint of a minor key shadow) until a final Maestoso peroration rounds matters off.

The piece (especially the finale) needed some editorial work to get it into a performable shape – there were some cuts, which we have opened out, and emendations in hands other than Cliffe's (some of them involving trumpets in startlingly vulgar taste) which we've removed!   I hope everyone will have the opportunity to hear this gorgeous piece and while we all know how long the lead-times on recording can be, I have fingers crossed for a performance or two sometime soon.

[Mark Thomas]

Lionel, I can remember few posts which have given me more pleasure. Thanks so much for such a full and vibrant picture of the work. Now to hear it!

[Alan Howe]

I entirely echo Mark's comments, Lionel. Thank you!

[petershott@btinternet.com]

What a very fine post! (And a model to us all.) It contains a beautifully vivid account of the music yet without being at all 'technical'. I shall be thinking much of this work, and hope that we shall hear it in the not too far future.

[Lionel Harrsion]

I'm blushing, gentlemen!

[Gareth Vaughan]

I can remember few posts which have given me more pleasure. Thanks so much for such a full and vibrant picture of the work.

Hear, hear! A labour of love - and one which I fervently hope is crowned with a fine performance, AND recording.