It must be recalled that the Falstaff
of this Symphonic Study is not the ‘ridiculous wooer’ of the Merry Wives of
Windsor, (whom I love dearly) but the large, grand and sometimes heroic
companion of Prince Hal. And the tragedy of the entire work is when Harry, now
King Henry V rejects his former companion with the words ‘I know thee not, old
man: fall to thy prayers…’ The mood of
the music does not follow a structured plot as such: it is more of a character
study, moulded into the shape of a symphony with four movements. It is an
extremely complex score with much thematic manipulation and cross-referencing. It
is not necessary to rehearse the titles of the movements here, save to say that
they encompass some key biographical events in Falstaff’s life. They are not
musical representations of these proceedings but are ‘past times remembered.’
Deeper still, is Elgar’s suggestion that ‘Falstaff is the name [of the
work] but Shakespeare—the whole of human life—is the theme.’ This is also
personal portrait of the composer himself.
The producers of this CD have
utilised the Shakespearian actors Timothy West and Samuel West to recount the
words of Falstaff and Prince Harry respectively. These texts are drawn from
King Henry IV Parts 1 and 2. I think that these narrations between the sections
(or movements) add considerably to the value of Elgar’s music and the structure
of the work.
Finally, it is quite possible to
enjoy this Symphonic Study with no reference to the plot of Henry IV: it can be
understood quite simply as a masterly exploration of several musical themes
reflecting emotions generated by sadness, joy, laughter, love of life,
rejection and personal tragedy.
American composer George Whitefield
Chadwick’s wonderfully evocative Tam O’Shanter -symphonic ballad
(1914-15) is sadly overlooked in concert halls, at least in the United Kingdom.
Which is a pity. Chadwick has created a splendid portrayal of one of Rabbie
(Robert) Burns’ best-loved characters. The music does not follow the story in
every detail, but near enough for the listener who knows the poem to follow the
action. The score depicts the long journey home, the supernatural carryings-on
at the Kirk of Alloway, the chase across the wee brig and, with a twist from Burns’
poem, a sober and reflective Tam at the conclusion. The music is always
colourful and well-scored with lots of musical onomatopoeia (jangling bones,
bagpipe screeches etc.) and a good sprinkling of ‘Scottish’ sounding tunes. In this recording Chadwick’s own ‘programme
note’ inserted at the head of the score is spoken by Erik Chapman (composer)
and Billy Wiz (Rabbie Burns). Despite knowing Chadwick’s overture, I enjoyed
hearing the introduction (I had read it before). It is a great context-setter
which lasts for just under five minutes and should be included in every
performance.
The liner notes give an excellent
introduction to both pieces as well as a robust justification for the inclusion
of the spoken parts. There is an interesting essay about the relationship
between Chadwick and Elgar – two men ‘divided by a common musical language.’
The playing of both works is
outstanding by all concerned and ticks all the boxes for quality of sound and
interpretive understanding. There are short biographical statements about the
conductor and the four narrators.
The ‘bonus’ with this CD release
is the inclusion of a ‘traditional’ presentation of Falstaff. In other
words, without the spoken parts. This is the same ‘take’ as used in the main event.
I guess that this will appeal to listeners who maybe do not want, or need, to
associate Elgar’s music too closely with Shakespeare’s character.
So, the big question – does this
work? As an experiment in performance it is extremely effective. I feel that
this could be a useful way of presenting these two works to the public. Neither
tends to be heard in the concert hall on anything like a regular basis. Falstaff
has been given twice at the Proms during the present century: Chadwick’s Tam,
has never been heard at that venue. And in these days when Shakespeare and
Burns are not taught in schools as extensively as they once were (or should be),
these narrations are of considerable help.
Track Listing:
CD 1
Sir Edward ELGAR (1857-1934) Symphonic Study in C
minor, ‘Falstaff’, Op.68, (narrated version) (1913)
George Whitefield CHADWICK (1854-1931) Chadwick’s Introductory
Note to Tam O’Shanter; Overture: Tam O’Shanter (1914-15)
CD 2
Sir Edward ELGAR (1857-1934) Symphonic Study in C
minor, ‘Falstaff’, Op.68 (orchestra only version)
Timothy West (narrator, Falstaff); Samuel West (narrator,
Prince Henry); Erik Chapman, (narrator, George Whitefield Chadwick); Billy Wiz
(narrator, Robert Burns)
BBC National Orchestra of Wales/Andrew Constantine
Rec. Hoddinott Hall, Millennium Centre, Cardiff, 17-19
September (Falstaff and Tam O’Shanter scores); Henry Wood Hall, London, 8
February 2019 (Introduction to Tam O’ Shanter); Wathen Hall, St Paul’s Boys
School, Hammersmith London 17 December 2018 (Henry IV excerpts)
Orchid Classics ORC100103
With thanks to MusicWeb International where this review
was first published.
No comments:
Post a Comment