BBC Symphony Orchestra
Sir Adrian Boult conductor
Albert Sammons violin
SOMM ARIADNE 5045
Ernest John Moeran died in slightly mysterious circumstances in Ireland on 1 December 1950, and this disc proudly proclaims ‘Moeran 75’ on its cover which has a colour photo of the composer. These are historic recordings brilliantly re-mastered by Lani Spahr.
The live BBC Broadcast of the Symphony in G minor dates from February 1949 and Moeran was present in the Royal Albert Hall. The composer commented that Boult, whom he originally did not want to conduct the work, knew it inside out, and it shows. Not only that, but Boult had had the benefit of lengthy detailed rehearsals. Consequently, the strings in particular manage the demanding passages heard especially in the first movement with panache. Boult also creates a special magic surrounding the Lento second movement. This has the spirit, the composer said, of East Norfolk where, as the son of a clergyman, he had spent his early years.
It is extraordinary to realise that the Albert Hall did not ring again with the sounds of this masterwork until 2009, when I had the thrill of hearing both it and its rapturous reception. This recording was made privately by Lionel Hill whose book on Moeran ‘Lonely Waters’ is an essential read (Thames Publishing 1985).
You will be quickly aware of the sound quality which, in especially busy passages, sounds congested and unclear. However, this is made up for by the fine interpretation which I feel has more insight than Boult’s later recording on Lyrita (SRCD 247). Boult can raise the excitement level when he needs to, and it is interesting that Handley on Chandos (Chan 8577) can be a little more sluggish in the outer movements.
If Geoffrey Self is correct in his book on Moeran (Toccata Press) that the ‘Symphony could hardly have been completed before he was occupied with his first thoughts on the Violin concerto’ in 1937, then it is not surprising that the mood of the work with its Irish spirit and rhythms not far below the surface, feels like a cousin to the symphony. Indeed, it seems that Moeran thought of it as his Irish Concerto.
Lionel Hill was the son-in law of the great Albert Sammons, and we have again Hill’s recording, made from a broadcast which came from Norwich in April 1946. It is so fortunate that we have it, as the composer admitted, that Sammons was his ideal soloist. Emphasising that point, Geoffrey Self in a footnote (p135) writes ‘despite strenuous efforts by Hill, Sammons never recorded (the concerto) – a real loss’.
Despite its age this recording shines with expressive passion, and Boult is his perfect partner.
Review by Gary Higginson