Thomas Dunhill Symphony

[Alan Howe]

Taken as an Elgar-inspired symphony written in the shadow of those of the great man himself - and not that long afterwards - it's still a grand piece. And it wasn't written as late as Boughton 3 - which I also love with a passion.

Perhaps it's just me...

[Dundonnell]

Will give the Boughton 2nd and 3rd another go too

[Jimfin]

I adore the third Boughton, still having trouble getting into the second.

[eschiss1]

They have a thread or three to themselves but will insert that I love both of them, find the 2nd more - elusive in character (it did take me longer) but equally passionate - it's the 1st that I need to stay with in hopes that it will stay with me

[Jimfin]

Yes, I fear that I will never really love the first, sadly, since I am a direct descendent of its subject

[Dundonnell]

Agreed

Boughton's Third is indeed a rousing, romantic and passionate piece

[Alan Howe]

After all these years I found I'd forgotten about Dunhill's Symphony and the splendid recording made by Martin Yates for Dutton. It's my current go-to guilty-ish pleasure, although I think it's actually rather more than that. OK, it's very much 'after' Elgar, but it's memorable and strangely moving in a rather English sort of way - understated, perhaps, but certainly not without feeling.

This is what the late and much-missed Mike Herman wrote for MusicWeb back in December 2007:
<<The Symphony makes an immediate impression as a big, warm, tuneful and memorable statement. It is decidedly conventional and old-fashioned even for its own time. No influence of the folksong movement or Delian pantheism is evident while the influence of Elgar's Symphonies is unmistakable though not pervasive. Despite its gestation during World War I the music lacks any significant sounds of deep anxiety. The opening movement is forceful, though perhaps a little over-extended, and abounds in big tunes one of which bears a striking resemblance to a similar melody in Ernest Chausson's Symphony in B flat major. The rollicking scherzo might remind the listener of Litolff's famous scherzo from his Concerto Symphonique No. 4 but it is pure delight. The slow movement marked adagio non troppo is haunting and the work's crowning section. Here is where Elgar's spirit looms large. The music is none the worse for it as its elegiac beauty demanded repeated hearings from this listener. The last movement returns to the sound-world of the first movement and moves inexorably towards a grand climax that ought to bring any audience to its feet. In short, I enjoyed this work enormously and would put it on any list of most satisfying revivals of forgotten works. For those who have given Anthony Payne's elaboration of the sketches of Elgar's Third Symphony such a warm reception, here is another work that they will truly savour.>>

[britishcomposer]

I agree heartily and would like to recommend listening to his Violin Sonata in F, Op. 50. Suzanne Stanzeleit recorded it 30 years ago. Especially the last movement is such a joyfully melodic journey, emotionally satisfying. On the other hand almost every other piece of his has left me disappointed so far. His technique is unfailing but his inspiration often low.

[FBerwald]

Do we have a detailed list of his compositions - Any other symphonies or concertos?

[eschiss1]

I see that there are a few books devoted to him and his music and am guessing that one of them might- I'll see if I can borrow one of them...

[eschiss1]

I now have David Dunhill's book out for 6 weeks borrowed from Bucknell University (Lewisburg, Pennsylvania) which may have some of the desired information. If not, I can try to have a look at one of the other books.

[eschiss1]

As the Dunhill symphony was composed in 1913/4-16, not 1941, it's not anachronistic anyway.

[Alan Howe]

Oh quite so, Eric. It's only just post-Elgar's two symphonies (1908; 1911).