Havergal Brian from Dutton

[TerraEpon]

With a total timing of 82:25 for the Cello recordings, they've done the logical thing and given Brian's Concerto a second disc all to itself.

Hmmm, technically that could fit onto a single disc, by 5 seconds.

[eschiss1]

I wonder if they may have to make these decisions sometimes before they know what the timings are going to be (archival performances excepted, of course) - I wouldn't know.

[Pengelli]

After hearing that bit with the organ in the 'English Suite' I couldn't take any more...................and pre-ordered the Toccata cd from hmv!

[albion]

For me, the surprise of the cello disc(s) has been the Concert Suite by Alan Bush - gloriously lyrical, colourfully orchestrated and hugely entertaining, this is a real find. We should hear more of his music! There is an exemplary site devoted to this extremely unsung composer courtesy of the Alan Bush Music Trust - http://www.alanbushtrust.org.uk/default.asp?room=Home   

[Greg K]

A bit off topic, but for a long time the 4 English cello concertos at the top of my wish list have been those by Brian, Malcolm Arnold,
Robert Simpson, & John Foulds.  Recently I acquired a broadcast recording of Simpson's CC, and believe Naxos is scheduled at some point to issue Arnold(?) - though I read an opinion somewhere of it being quite a lacklustre piece.  With the Brian work now available that leaves Foulds.  Anyone know of plans?

[albion]

Hi Greg, I don't know of any concrete plans at the moment - although with the rate that Dutton is producing fantastic recordings (and they have clearly shown more than a passing interest in Foulds), it surely won't be too long before they get round to the Cello Concerto!

In the meantime you can listen to the 1988 broadcast (beautifully played by Raphael Wallfisch) available as a download from Folder 11 of BMB - http://www.unsungcomposers.com/forum/index.php/topic,856.0.html   

[albion]

I've been pondering just what it is about the new Dutton cello discs (York Bowen, Alan Bush and Havergal Brian) that I find so enormously appealing - it is the fact that this is (I think) only the second occasion when Brian has been included in a multi-composer recording (the other being ClassicO's RLPO recording of Psalm 23).

This approach makes a composer seem less of a 'freak' specialism, somebody of interest only to the dedicated minority, and places him nearer to his contemporaries in terms of importance and approachability. Brian (for many reasons) seems to be the sort of composer who is destined to be regarded as a somewhat isolated island in British music - this new release brings him perhaps slightly closer into the fold.

[eschiss1]

As to that, I'm almost positive the Festival Fanfare was included in a collection of similar works on a recording once, but I'm not quite sure. Will check...

Well, Brian in a multi-composer recording- there's the LP "Masters of the English musical renaissance : Hubert Parry, Havergal Brian, John Foulds / Luxembourg Radio Symphony Orchestra ; Leopold Hager." - I think that has music from the Tigers? Ah yes, it does. (Reissued on Forlane CD, 2007.) The other is the Fanfares LP from RCA from 1977, reissued on a Chandos CD, conducted by James Stobart (noted here.) Worldcat shows one or two others (mostly from private labels I think, like George Heriot's school orchestra's own label.) Not gainsaying your overall point at all which is important...

[albion]

Thanks - I'd completely forgotten about the Forlane recordings! 



Although they had limited circulation, these were valuable for exactly the same reason as the present Dutton release, although the juxtaposition of Parry, Foulds and Brian was perhaps just slightly too eccentric: given the inclusion of Foulds and Brian, I remember that reviewers were quite naturally puzzled by the title chosen for the collection (the repertoire of which was largely an indication of the disparate enthusiasms of Bernard Benoliel).

[albion]

Although not from Dutton, there is yet more good news for Havergal Brian fans in what is turning out to be a year of extraordinary activity: according to a post on another forum by a member of the Havergal Brian Society, the first entirely new recording of this composer's music on Naxos (as opposed to re-issues of Marco Polo originals) has been completed for release later in the year - Symphonies 22, 23 and 24 coupled with the early English Suite No.1. It should be a cracker of a disc with James Judd conducting the RLPO. 

[eschiss1]

I've heard for ages of a plan to record symphonies 22,23 and 24 as a next (and possibly last) instalment in the Marco Polo/Naxos series.  I enjoy 22 and 24 much much more than enough (and will be glad enough to hear a new recording of 23- the broadcast of 23 on the Aries LP at the university library is ok) to want to hear them done perhaps even better, and Judd sounds to me like one of the best choices of conductors so far in the series, hopefully.

[Alan Howe]

I hope it's OK if I dissent from what seems to be the prevailing enthusiasm for the later Brian. I find almost all of this music short-winded, rhythmically leaden-footed and altogether unlistenable. Apologies in advance: it's clearly my fault, but I've tried for years (I bought Malcolm MacDonald's 3-volume survey when it first came out in the hope that it would help, but I've always found that the music is more interesting in the describing than the listening).

[Mark Thomas]

Well, if it's your fault then it's mine too, Alan. I have long had a Brian blind spot and only recently has the veil begun to lift from my eyes. As a way in to his idiom I've been listening, and increasingly appreciating, some of his very earliest works such as the Burleske Variations, In Memoriam, Dr Merryheart and For Valour. Being lucky enough to have tickets to the Proms performance of the Gothic Symphony, in the last couple of weeks I've dusted off my copy of the Boult/BBC recording and have played that through a few times. I must admit that I still find a fair bit of gristle in places in the first three, purely orchestral, movements but the vast concluding Te Deum setting is an absolute marvel and I can't wait to experience it live.

Over the years I've accumulated a number of the later symphonies and some other odd orchestral pieces and I'll work my way through them too, confident that I'm at a last getting somewhere. I'm sure that it's going to be a slow job, though, as I still don't really understand the boundless admiration which so many people have for Brian's music.

[Alan Howe]

I'm OK with most Brian until approx. WW2: I have enjoyed greatly most of what he wrote before this, but just can't get into the tightly compressed stuff that is, I guess, most characteristic of the last twenty-five years or so of his creative career. If you find the key to unlock him, Mark, do let me know...

[eschiss1]

I like MacDonald's comparison of the late stuff to fantasias (in the old instrumental motets sense, and with somewhat updated melody and harmony...) though subjectively and I know unhelpfully what really made me a fan of his later music was Mackerras' EMI recording of no.31, which I listened to many times (library recording at the time, not mine- I would listen to a number of 15-or-less minute pieces like that , Barber's op.1 serenade, Prokofiev's op.10 piano concerto, etc., many times between classes) in college.  Between the atmosphere of the opening bells (or bell-like sounds? ... ) - and Mackerras (much missed - of course...) with his sure control (I think) of the opening paragraphs through to more difficult material - well, I think one has the combination of a very likable and varied piece (with two cadenzas...) conducted by an excellent guide.  I'm really glad EMI, last I checked, had it back in circulation (I even have the Groves recording it's now in harness with, though separately.) (... ok, cduniverse and such places don't really have it - it seems to be out of print again. Figures. ... ... Erm.)