Charles Villiers Stanford: the Scottish Premiere of the Symphony No.3 (Irish)

Charles Villiers Stanford’s Symphony No.3 (Irish) is one of my favourite Victorian/Edwardian examples of the genre. I have always enjoyed the subtle balance of vibrancy tinged with melancholy – which is just as it should be. This symphony, which dates from Stanford’s early period, is now considered to be one of the ‘most characteristic and beautiful compositions by its composer.’ The ‘Irish’ Symphony was completed early in 1887 and was premiered in London on June 27 of the same year at a Richter Concert held at the St James Hall.

In fact, of all Stanford’s seven symphonies, it is the only one that has managed to keep a toehold in the orchestral repertoire. In the years after it was composed, the ‘Irish’ Symphony held its own for several years before largely disappearing from the concert listings. The first sign of revival was the recording by Norman Del Mar and the Bournemouth Sinfonietta on EMI ASD 4221 dating from 1982. This was followed by its inclusion in the two impressive cycles of Stanford’s symphonies issued by Chandos and Naxos.

I discovered a review in the Musical Standard dating from 19 January 1889 of the ‘Irish’ Symphony’s premiere in Scotland. It was a less-than-impressive account. One of the interesting facts about the concert was the performance by the Scottish pianist and composer Helen Hopekirk of Beethoven’s Emperor Concerto. In recent months a splendid CD of Miss Hopekirk’s piano compositions has been released on the Toccata Label. Possibly more about her in a subsequent post.

The Fourth Concert in Edinburgh piano-makers Paterson and Son’s series was held on Monday, 14 January 1889 at the Music Hall. This building is now the Assembly Rooms, 54 George Street. The Orchestra was conducted by August Manns. This concert marked the return of Helen Hopekirk to her native city after an absence of ‘several years.’ She was born in the nearby suburb of Portobello on 20 May 1856. The reviewer noted that ‘Mme Hopekirk played Beethoven’s Fifth Concerto, in which she was ably seconded by the band, and also three short solo pieces, being encored on each occasion.’  Other reviews are not quite so enthusiastic about the balance between soloist and the ‘band.’ The solo pieces were the ‘Menuetto Capriccioso’ in E flat by Theodor Leschetizky, ‘Träumerei’ by Robert Schumann and the Liszt-Schubert version of ‘The Erl-King.’

Other works heard at this rather lengthy concert included the choral version of Alexander C. Mackenzie’s Benedictus. This work, at least in this orchestra only version out-Elgar’s Elgar. Then listeners heard Otto Nicolai’s delightful, sometimes Sullivanesque, overture to his opera The Merry Wives of Windsor and extracts from Georges Bizet’s L’Arlesienne.

The Italian soprano, Elvira Gambogi performed the ‘Jewel Song’ from Charles Gounod’s Faust, ‘Lotus-Flower’ by Robert Schumann and G.J. Bennett’s ‘Serenade’. Gambogi was also a composer. Another post possibly?

The correspondent of the Musical Standard then turns his attention Stanford: ‘The instrumental novelty of the evening was…[the] Irish Symphony, which was played for the first time in Scotland. It cannot, however, be said to have created a great impression; indeed, the tedious first movement sorely tried the patience of even the most enthusiastic lovers of native talent, and, when leaving the concert hall, the words “that wearisome symphony” were heard on every side.’

I do wonder if they were hearing the same work that we know today. I have always loved the way the composer lays out his material in this opening movement. The final comment on Stanford was that his ‘contrapuntal verbosity is very remarkable, but at the same time, is rather trying.’ It is something I have never struggled with.   

Fortunately, there are a couple of other contemporary reviews of the Scottish premiere of Stanford’s Irish Symphony, which are more positive.