I was reading Brian Reinhart’s (MusicWeb International) review of this CD the
other day, and was interested by his ‘take’ on these pieces. Fundamentally, he
recognised that three of these ‘attractive enough’ works are early and ‘are not
about to spur a Moeran revival’. I
disagree with him- in part. Since hearing these works more that quarter of a
century ago, I have come to enjoy their impressive blend of ‘English Musical
Renaissance’ and ‘Celtic Twilight’ so often associated with Arnold Bax. I
concede that there is nothing on these discs to compare with the Symphony in G
minor or the moving Cello Concerto, yet all of them are good, entertaining
pieces that give the listener considerable pleasure as well as an allowing
opportunity to explore the composer’s earlier orchestral music. In these works
there are sufficient marks of interest, beauty and occasional genius to make
them worthy of the composer. My musical life would be the poorer if I did not
have these pieces in my collection.
Certainly the three Rhapsodies and the In the Mountain Country
provide an unequalled musical ‘impression’ of Ireland (in a very different
manner to Stanford’s excellent Rhapsodies)
It is possible to underestimate Moeran’s Overture
for a Masque, quite simply because it is a populist in its effect. Yet it
must be recalled that this work was written (1942-43) as a commission by Walter
Legge for performance at an ENSA (Entertainment National Service Association)
concert (As was Alan Rawsthorne’s ‘Street Corner’ Overture). It is clear that Moeran’s overture was
designed to entertain rather than present any major ground-breaking personal
statement or confession. Moeran presents the listener with lots of brass,
rhythmical excitement and syncopations. There is a deeper element to this
music: Moeran manages to create an occasional nod towards the misty far Western
shores of Eire especially with the reflective middle section. It is not clear
what this largely rumbustious piece has to do with a ‘Masque’. But that is not
the point: it is a well-written overture that has outlasted its original
purpose. It could still be used as an opener at an orchestral concert today.
Since hearing Vernon Handley and the Ulster
Symphony Orchestra perform ‘In the Mountain Country’ on CD back in 1989, I have
enjoyed what Rob Barnett has deemed ‘Rhapsody No.0’. Reinhart rightly describes this as an
‘atmospheric postcard’. Moeran designated this piece a ‘symphonic impression’
which it may or may not be. There is little development of ideas (in a
symphonic sense) here, just a series of beautiful and catchy tunes. Unlike Charles Villiers Stanford’s ‘Irish
Rhapsodies’, all the melodies that Moeran presents are of his own devising,
although it is clear to the listener that he has absorbed much of the style and
content of Irish folksong. I love the
enigmatic close to this piece, the considerable and quite moving climax and the
‘Celtic Revival’ opening with the drum roll and clarinet solo. Moeran dedicated
this student work composed in 1921 to Sir Hamilton Harty. It may not be the greatest of Moeran’s
efforts, but it is worthy of his reputation.
The First Rhapsody was composed the year after In
the Mountain Country: in many ways it builds on the success of this earlier
piece. However, I get the feeling that there is just a touch more subtlety. Once again, no folk-song has been identified
as having been ‘lifted’ by the composer: all appear to be of his own invention. This work was dedicated to John Ireland who
was Moeran’s teacher at this time. There
is a good balance between passionate, almost ‘Ravelian’ passages and the
typically reflective mood music that hints at the Irish landscape and its
peoples. I feel that any criticism of
this work overlooks just how competent the orchestration is. His handling of the
woodwind in particular is worthy of study. This is a confident composer perfectly
at home in handling large forces, building strong climaxes, but never losing a
sense of intimacy. It is ultimately a beautiful work.
The Second Rhapsody was a commission for the 1924
Norfolk and Norwich Centenary Festival.
The liner notes suggest that this is not as subtly scored as its
predecessor: nor is the formal structure quite as ‘intricate.’ In 1941 Moeran
tinkered with the orchestration, presenting it for a smaller orchestra. It is this version that is presented here. The work opens with a typical, folk-like tune
for bass clarinet which is apparently based on a Norfolk melody called ‘Polly
on the Shore.’ (Not Molly!) In spite of this, the general tenor of this work is
once again that of an ‘Irish’ Rhapsody. It has been suggested that nearly all
tunes want to turn themselves into jigs. There is a lovely thoughtful middle
section with a broad tune which just makes the goosebumps rise. I am not convinced by the suggestion that
this piece is less worthy than No. 1. If I am honest it is my favourite of the
lot.
Brian Reinhart is absolutely correct in his review
that the Rhapsody in F sharp ‘falls into that unfortunate blind spot
of concertante works too short to program as the main concerto.’ The other side
to this coin is that it is expensive to find a soloist of the calibre of
Benjamin Frith to present a work that lasts for a mere 17 minutes.
The Rhapsody was composed at a
time when Moeran was at his peak. It was dedicated to Harriet Cohen who gave
the work’s first performance in 1943. It was later taken up by Iris Loveridge whose
performances the composer apparently preferred. Although the work is in one
continuous movement it is divided into three sections. I find it quite hard to
decide if this is a Concertante work or a ‘mini’ concerto. There are plenty of
opportunities here for the pianist to display their technical skill, including
several cadenzas. Much of this music is heart-meltingly beautiful. Once again
this work was designed with war-time concertgoers in mind, which perhaps
explains some of the more popular stylistic conceits that Moeran has used. He
never compromises his artistic integrity for the sake of public approbation.
There is everything in this work: it is just way too short. What a pity that
Moeran never wrote a ‘proper’ piano concerto.
I was bowled over by the sound
quality of this disc. The playing by the Ulster Orchestra under JoAnn Falletta
is sympathetic and committed. The liner notes by Paul Conway give the listener
all the information that is needed to appreciate these delightful works. Benjamin Frith excels himself in the Third
Rhapsody.
Rob Barnett has given an overview
of the alternative recordings in his review. All I will add is that all
enthusiasts of Jack Moeran’s music will demand all these recordings in their
collections. But if someone only wishes
to own one version of these works, or wants to discover what they sound like,
then this is the best version to go for.
Track Listing:
E.J. MOERAN (1894-1950)
Overture for a Masque (1944) ‘In the Mountain Country’
(1921) Rhapsody No.1 in F major (1922) Rhapsody No.2 in E major (1924/41) Rhapsody
in F sharp major* (1943) Benjamin Frith* (piano)
Ulster Orchestra/JoAnn Falletta
NAXOS
8.573106
ith thanks to MusicWeb International where this review was first published.
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