Concertos for Orchestra

[petershott@btinternet.com]

There clearly isn't anything 'odd' about a concerto for orchestra. Rather than a solo instrument engaging in a dialogue / conversation / confrontation / interrogation with an orchestra, we have here an orchestra engaging in such with itself. After all, I don't have to talk to another: in working out a problem, finding a way out of a conundrum, assessing a thesis and weighing it up against an antithesis, I am in effect talking to myself. And I suppose the form of the modern concerto for orchestra ultimately derives from the earlier concerto grosso.

After that little prolegomenon, I've much enjoyed getting to know two Concertos for Orchestra (1953 and 1956-57) by Arthur Meulemans - out on a recent disc from the new Royal Flemish Philhamonic label with the orchestra conducted by Martyn Brabbins (in terms of his energy, range of commitments and versatility Brabbins is surely becoming a kind of Neeme Jarvi Mark II). I've, as it were, 'earmarked' Meulemans ever since listening to the earlier Marco Polo discs of Symphonies 2, 3 and 7 and wanting to hear more of his music.

The insert notes compare the first Concerto with the Bartok Concerto. Absolutely right, but in terms of exuberance and busy excited orchestral activity it also reminded me of Tippett's 1938 Concerto for Double String Orchestra and the 1962-63 Concerto for Orchestra but perhaps without the almost aching lyricism to be found in Tippett.

Yes, very glad to have got to know these pieces, and a positive thumbs up to the disc (which also contains the orchestra's second recording of the Jef Maes Overture Concertante from 1961 - the same work is also to be found in less superior sound on a Marco Polo disc with his Symphony No. 2 - and another Concerto for Orchestra, this time by a composer new to me, Norbert Rosseau).

Question to Flemish friends: is Meulemans a composer often encountered in Flemish concert halls? What sort of status does he hold? Is his music performed with some frequency? If I happened to own (pure fanciful indulgence!) Chandos or Hyperion (and was free of the company accountant waggling his finger at me), what works of Meulemans ought I to be busy recording?