This is not the forum to discuss the differences between a ‘Symphony’ and a ‘Sinfonietta,’ save to say the latter is not necessarily “light weight.” One need think of eponymous works by Britten, Janáček and Moeran to realise that there are examples with considerable depth of feeling and technical prowess. Despite Pitfield’s Sinfonietta (1946) opening with a sense of grandeur, the music alternates between light and reflective moods. Though seemingly structured in five distinct movements, the liner notes suggest it falls somewhere between a suite and a set of variations. There seems (to this listener) little in the way of formal or thematic balance normally expected from a symphony. The movements include a surprisingly involved Polka, a heart-breaking Pavane and a lively, but quite serious Jig. The Sinfonietta is concluded with a long Finale, which bounces along with some backward glances towards more troubling matters. Whatever the formal impediments are, it is enjoyable and satisfying from the first note to the last. It deserves its place in the large catalogue of rarely (sadly) played British Symphonic Music.
The Fantasia on an Old Staffordshire Tune for violin and orchestra (1950) was first heard at a concert given during the 1951 Festival of Britain, by the Halle Orchestra under John Barbirolli. The Daily News (10 August 1951, p.4) reports on the “interesting” new work and how it “impressed one as an earnest piece of writing, attractive above all in its quieter moments.” Up to a point I agree with the critic. There are moments when one is reminded of the pastoral “magic” of RVW’s The Lark Ascending, or Julius Harrison’s Bredon Hill. Yet, the faster passages are intriguing and provide a thoughtful contrast to the opening and closing “sections” which contain the heart and soul of this Fantasia. The finale, Andante contemplativo, opens with a cadenza, that nods to an Ascending Lark. The overall impact is one of warmth tempered by introspection. The “Old Tune” is based on The Little Room, a melody that Pitfield had found in that county. He late revisited it in his Bucolics.
The late Lyric Waltz (1988) was originally scored for a variety of instrumental resources including recorder, cello and piano and for piano solo. It has a lovely wistful air, which reminds me of so many sympathetic pieces written for this medium.
This is followed by the undated (although Turner suggests that it is probably “late”) Bucolics: Folk song Studies. The collection is based on a series of six Scottish, English and Irish tunes that are skillfully developed. Highlights include the opening Comin’ through the rye, the bouncy Where are you going to, my Pretty Maid, the intense (already mentioned) My little room and the entertaining Carrion Crow, concerning a pistol shot, poorly aimed, which missed its intended mark - a crow - and instead struck and killed the farmer’s sow.
The story of the Concerto Lirico for violin and orchestra is not a happy one, at least initially. It was completed in 1958 and premiered by the BBC Northern Orchestra under George Hurst, who gave it a less than satisfactory performance. After the broadcast, Pitfield largely destroyed the manuscript, keeping only the slow movement, which had been dedicated to a colleague and friend, the pianist Albert Hardie. Fortunately, he had made a microfilm copy of the concerto and had forgotten about it. It was discovered by John Turner, Pitfield’s executor, when “clearing out his garden shed[!]” It was latterly typeset by Peter Mountain, giving the English music enthusiast a first-class concerto. There are many stylistic nods in this work, including E.J. Moeran and Gerald Finzi. This concerto stands as a timeless masterpiece, embodying the hallmarks of a composer who, as Rob Barnett has said “held true to his style” resisting the “contemporary tidal surge of dissonance.” The Concerto Lirico was previously issued on the Dutton Epoch label (CDLX7221) and reviewed by Mr Barnett here.
The final track on this disc presents the deeply felt Epitaph for string orchestra (1981). It is an adaptation of part of a cantata dedicated to the great Northumberland-born bass Owen Brannigan. Originally a setting of one of Pitfield’s own poems reflecting on the elders of a village resting beneath weathered, moss-covered gravestones, their inscriptions fading with time, it has been transformed into a deeply moving numbers that is on a par with so much English pastoral music. It is my favourite composition on this disc.
All the works are given committed performances by the Liepāja Symphony Orchestra under Paul Mann. The violin soloist, Emma McGrath, gives outstanding accounts of the two concerted pieces. I have already mentioned the liner notes which add value and interest to the package. The recording is splendid.
This is altogether a valuable
exploration of Thomas Pitfield’s eminently approachable music. Hopefully,
Toccata Classics will re-examine his extensive catalogue soon.
Thomas Pitfield (1903-99)
Sinfonietta (1946)
Fantasia on an Old Staffordshire Tune for violin and orchestra (1950)
Lyric Waltz for string orchestra (1988)
Bucolics: Folk song Studies (undated)
Concerto Lirico for violin and orchestra (1958)
Epitaph for string orchestra (1981)
Emma McGrath (violin), Liepāja Symphony Orchestra/Paul Mann
rec. 14-17 January 2025 Great Amber Concert Hall, Liepāja, Latvia
Toccata Classics TOCC0765
No comments:
Post a Comment