A Fiftieth anniversary Tribute
SOMM ARIADNE 5039-2 [2CDs]
Sir Arthur Bliss was an excellent conductor of his own music, but surprisingly he made very few commercial recordings. SOMM here celebrates the 50th anniversary of his death with a 2-CD set of archive performances, all but two of which he did not record commercially.
These live performances, mostly from the BBC Proms have been skilfully remastered by long-time SOMM executive producer and all-round wizard, Lani Spahr. The result of tireless work by the Bliss Trust and Bliss Society they show how unjust is Bliss’s neglect in the concert hall.
Although Bliss was composing right up until his death, most of the works here come from the very early part of his long career, even though some were revised later. What is immediately apparent is how quickly after his avant-garde days immediately following WW1 he settled into a style influenced by Parisian modernism, especially the world of the Ballets Russes, and in particular Stravinsky. To this he added a thorough understanding of the British style as expounded by Elgar.
The Colour Symphony was one of Bliss’s major successes. Commissioned by Elgar for the Three Choirs Festival where it was premièred in 1922 with Bliss, as here, conducting the LSO. Bliss struggled to find inspiration, but his writer’s block was overcome when he found a book on heraldry, and particularly the symbolic use of colours. What is remarkable is that the colours, Purple, Red, Blue and Green generate the formal requirements of a symphony. Listening to the work with its accessible modernism and regal melodies it is easy to see why he became MQM. Red has seldom sounded more brilliant, and the double fugue in Green more verdant. The Recording from a Prom celebrating Bliss’s 70th birthday sounds is a little thin in places, but Bliss gives the work a majestic sweep.
The Piano Concerto written in 1938-39 for Solomon who was very nervous before the première. His nerves were well founded as the work begins with exposed, virtuoso octaves with no room for error. The work holds no terrors for John Ogdon who could probably have sight-read it. Ogdon’s quicksilver negotiation of the terrifying tarantella-like finale is quite something. Taken from a 75th birthday concert overall, the BBCSO sound very well though the piano tone is a little brittle in places.
Bliss served in WW1 and Morning Heroes dedicated ‘To the Memory of my brother Francis Kennard Bliss and all other Comrades killed in battle’ was his attempt at laying to rest the ghosts of that terrible conflict. The work sets, for orator, chorus and orchestra, various poems from Homer to Robert Nichols, juxtaposing the harsh images of trench warfare with the epic heroes of Ancient Greece. It is a powerful work that has not had the exposure it deserves. This 1968 performance sees the multiple forces; Donald Douglas (orator), BBC Chorus and Choral Society, Alexandra Choir, Croydon Philharmonic Society and BBC Symphony Orchestra, pulled into fine form by the composer who was very attached to the work. Scottish actor Donald Douglas is too light for my taste and not a patch on (a restrained) Brian Blessed who gave a moving performance on Cala.
The Concerto for Two Pianos Three Hands was arranged from a 1950 arrangement for four hands of a piece which began life in 1920 as a work for piano, tenor, strings and percussion. It was made at the request of his great friends Phyllis Sellick and Cyril Smith, after Smith lost the use of his left hand after a stroke. In this 1969 Prom performance the soloists are excellent, and this energetic and enjoyable work with the BBCSO, sounds positively effervescent.
Two shorter works complete the programme. Mêlee Fantasque from 1921/1965, is heavily influenced by the Ballets Russes, and is a precursor of things to come (no pun intended). He takes the BBC Northern Orchestra a minute faster than the LSO on his Lyrita recording. The march The Phoenix, subtitled ‘Homage to France August 1944’, completed in February 1945, does not sound very French but receives a heartfelt and rare performance from the BBC SO in 1965.
Trudy told me that her husband always drank a glass of good Gewurztraminer before conducting, and it is nice to think of the elderly composer invigorated by the liquid, leading these inspiring performances. The liner notes, including texts are informative and well presented.
Review by Paul RW Jackson