Tintagel; The Garden of Fand; The Happy Forest; The Tale the Pine-Trees Knew; November Woods. David Lloyd-Jones, Royal Scottish National Orchestra. Naxos 8.557599.
Conductor David Lloyd-Jones and the Royal Scottish National Orchestra recorded English composer Arnold Bax's complete symphony cycle for Naxos between 1995 and 2003, with each symphony accompanied by one of the composer's tone poems per disc. A little later, the enterprising Naxos folks did a welcome double dipping by releasing five of the tone poems on their own CD, reviewed here.
Lloyd-Jones does well by these symphonic sketches, although none of them match my favorites, recorded by Sir Adrian Boult for the Lyrita label back in 1968. Still, Lloyd-Jones has the measure of the music. The disc begins with Tintagel, Bax's depiction of the rocky precipice on the Cornish coast reputed to be the birthplace of the legendary King Arthur. Like the actual location, the short, symphonic tone picture is all about rugged seascapes, craggy cliffs, and splashes of ocean spray. David Lloyd-Jones serves the music well, although his interpretation is a tad on the light, leisurely side compared to the more rough-and-tumble vigor displayed in the work of conductors Bryden Thomson (Chandos) and the aforementioned Boult.
Bax based The Garden of Fand on Irish legend, the music describing a picture of a calm sea over which sails a small ship, eventually tossed onto Fand's island, where the gods play with the lives of mortals. I thought it came off the best of all Lloyd-Jones's readings, where he expresses the strong but quiet emotions of the tale vividly and strikingly. Following this, we find The Happy Forest, a short piece adhering to Bax's pastoral pattern. Bax described it as a nature poem, and, in fact, basing it loosely on a poem; but it is mainly impressionistic, not programmatic, and Lloyd-Jones sensibly maintains a tight rein on any possible histrionics.
The next-to-last poem is a sixteen-minute composition with the inconvenient title The Tale the Pine-Trees Knew. I say "inconvenient" because it tends to make the piece seem like a children's story, which it most pointedly is not. Bax fills it with strong rhythms, rugged harmonies, and moody reflections, all done up sympathetically by Lloyd-Jones, whose Scottish forces must have this music in their blood. And the final work is November Woods, one of the best things Bax ever wrote (along with Tintagel). November Woods is evocative of a Buckinghamshire wood on a proverbial dark and stormy night. Although again Boult portrays the scene more picturesquely, Lloyd-Jones is almost equally atmospheric.
Oddly, I thought the Naxos sound was best in the earlier recordings, the 1995-96 productions of November Woods and The Tale the Pine-Trees Knew. By the time Lloyd-Jones recorded Tintagel in 2002, the sound appears to have become softer in the midrange and more billowy in the mid-bass. Nevertheless, given the fact that Boult's collection on Lyrita is sometimes hard to find (it seems to keep appearing and disappearing in the catalogue), and that Naxos price the disc absurdly low, I can't think of a reason in the world why the interested listener shouldn't try it.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For over 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me--point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, as of right now it comprises an Onkyo C-7030 CD player, Legacy Audio High Current preamplifier, AVA FET Valve 550hc or Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
Readers with polite, courteous, helpful letters may send them to email@example.com.
Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to firstname.lastname@example.org.