Sir Arthur Bliss: Castaway on Desert Island Discs, 1959

On 9 November 1959, the composer Arthur Bliss was a guest of Roy Plumley on the long running radio show Desert Island Discs. In his autobiographical As I Remember (London: Faber and Faber, 1970; revised and enlarged: London, Thames Publishing, 1989, p.278) Bliss recalled that when he appeared on this “fanciful programme” he “chose for [his] first record the Credo from J.S. Bach’s B minor Mass.” He wrote that “when I listen to this, I am filled with such as positive belief, belief in something much greater than the small self, that even in moments of dark depression it is difficult to admit to doubt.”  The version heard on that day’s programme was played by the London Philharmonic Choir and Orchestra, conducted by Albert Coates. And remember, part of that radio show’s ethos was that the complete work was included in the castaway’s possessions, not just the extract played. So, Bliss would have had the entire two hour (nearly) long Mass to get to grips with. 

His second selection is the emotionally sad aria Ach, ich fuhl’s’ from Mozart’s The Magic Flute. It was played from a record made by the distinguished German soprano Irmgard Seefried, accompanied by the Vienna Philharmonic, conducted by Herbert von Karajan. Arthur Bliss’s third piece was the beautiful Pavane pour une infante défunte by Maurice Ravel. It was given a delightful performance by the French pianist and composer Robert Casadesus.

The fourth number is the Dance of the Coachmen and Grooms from Igor Stravinsky’s ballet score Petruska. This vibrant dance comes from the fourth tableau but is usually included in the ballet suite. Leopold Stokowski conducted the Philadelphia Orchestra. It is of interest that Bliss composed four original ballet scores: Adam Zero, Checkmate, The Lady of Shalott and Miracle in the Gorbals.

It is not surprising that one of Bliss’s choices was a Beethoven String Quartet. In this case, op.59, no 3 in C major, the third of his three ‘Rasumovsky’ quartets. It was played by the Koeckert Quartet. As is pointed out in the remarkable guide to chamber music, The Well Tempered String Quartet, the “promise of simplicity implied by the key of C is not well kept.” I do not know what movement (or extract of a movement) was heard on the show; however, the best recalled section is the final fugue, which the above mentioned volume suggests is “not as difficult as it seems the first time it is played through…”

One request that was a little off the beaten track was a recording of the Dawn Chorus made on Bucklebury Common, Berkshire. I assume that it was found in the BBC Sound Archive.

It is not unusual for a composer to select one of his own compositions to be at his side during his island exile. In Bliss’s case it was his Violin Concerto played by Alfredo Campoli accompanied by the London Philharmonic Orchestra, conducted by himself. This work has been described as “a sort of Elgar-Walton synthesis.” Sadly, this effective concerto has never really taken off with listeners or concertgoers. It is full of “energy and nervous tension” as well has displaying considerable lyricism. This Concerto was composed during 1953-54 and was premiered on 11 May 1955. It was dedicated to Campoli.

The final choice did surprise me: Arnold Schoenberg’s Variations for orchestra. To be sure, Bliss was aware of the Austrian master’s impact on 20^th century music. And he had met him on several occasions. The recording heard that evening was one issued by Columbia Records in 1958: Robert Craft conducted the Columbia Symphony Orchestra. Written in 1928, it was Schoenberg’s first orchestral essay using his new “method of composing with twelve notes.” Heard in 2023 this work is hardly challenging to many listeners (not a favourite with Classic fM, I guess), but I do wonder what listeners back in 1959 would have made of it. Despite its structural principles, there is much here that is romantic in mood, rather than austere.

Sir Arthur Bliss’s luxury was a telescope. His book (along with the inevitable Complete Works of Shakespeare and the Holy Bible) was a volume on astronomy. His recording to be kept, assuming the other seven were lost in the surf was the aria Ach, ich fuhl’s’ from The Magic Flute.

On 29 July 1972 Arthur Bliss did a reprise of his appearance on Desert Island Discs. Here chose a completely distinct set of musical choices.