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Arnold: Symphony No. 9
 
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Arnold: Symphony No. 9

~ Malcolm Arnold (Composer), Andrew Arnold Malcolm / Penny (Composer), Andrew Penny (Conductor), Irish National Symphony Orchestra (Orchestra), National Symphony Orchestra (Orchestra), et al.
4.5 out of 5 stars See all reviews (2 customer reviews)
Price: £4.89 & eligible for Free UK delivery on orders over £5 with Super Saver Delivery. See details and conditions
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Price For All Three: £14.67

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Extraits
Song TitleArtist Time Price
Listen  1. Symphony No. 9, Op. 128: I. VivaceAndrew Penny 8:32Album Only
Listen  2. Symphony No. 9, Op. 128: II. AllegrettoAndrew Penny 8:34Album Only
Listen  3. Symphony No. 9, Op. 128: III. GiubilosoAndrew Penny 6:42£0.69
Listen  4. Symphony No. 9, Op. 128: IV. LentoAndrew Penny23:07Album Only
Listen  5. Sir Malcolm Arnold in Conversation with Andrew PennyMalcolm Arnold10:20Album Only

On this CD:
  1. Symphony No. 9
    Composed by Sir Malcolm Arnold
    Performed by Ireland National Symphony Orchestra
    Conducted by Andrew Penny

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4.5 out of 5 stars (2 customer reviews)
 
 
 
 
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7 of 7 people found the following review helpful:
4.0 out of 5 stars Another ninth symphony masterpiece, 6 Aug 2002
Malcolm Arnold's ninth symphony is certainly one of his most profound and far-reaching orchestral statements, and it is a piece which reveals the whole breadth and complexity of his musical personality. It will be difficult to find a more dynamic account of this piece than that offered by Andrew Penny and the Irish National Orchestra.
An interesting feature of this symphony is that it in two parts with the first three movements acting as preludes to the epic final movement (which is as long as the first three movements put together). Whilst being somewhat different in scale from much of his other music, it still manages to incorporate all of Arnold's key musical concepts.
The first movement is a dance-like Vivace which is fairly sparse and econmical in form- it contains sections where only single woodwind instruments are playng. The opening theme is hauntingly grotesque, but the movement does lose some momentum until the opening theme is taken up again by the whole orchestra at the end of the movement. The second movement is a atmospheric, bucolic allegretto with a motif which is repeated some 16 times but with different layers of orchestral colouring. The third movement is a classic Arnold scherzo, full of outlandish and unrestrained Brass passages.
It is in the final movment that the symphony changes course. This is one of the darkest of symphonic movements and is redolent of the long funeral march of Mahler's Ninth Symphony. It is Arnold at his heartbroken best, making it clear that this is his musical depiction of a descent into darkness. I was particulalry moved by the impassioned outburst towards the end of the movement when the music changes tempo- like someone trying to wrench free of their misery. But the music soons descends back into the sombre theme that began the movement, and the G major ending offers only a slight resolution. This is a sublime masterpiece of a movement.
The interview after the symphony reveals much about Arnold's inimitable take on music and life. He suggests that the movement reflected his own personal struggles in the past, and asked whether he was glad to be alive to celebrate his 75th birthday he jokes that "there is still a bit of life in the old dog yet". The old dog must be wagging his tail at this performance.
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5.0 out of 5 stars Another type of Ninth symphony, 21 Jan 2009
By Mondoro (Ormskirk, Lancashire United Kingdom) - See all my reviews
An austere, understated work. throughout which rarely more than two lines weave together often sad, regretful tunes that sum up Arnold's compositional career. The final Lento begs comparisons with Mahler, yes, but more the Mahler of the next, 10th, Symphony in Cooke's recocnstruction: the style though, is unmmistakably Arnold's in the predominance of brass instruments (trumpet + trombone). The earlier movements are generally just as restrained, with the exception of the Giubiloso, a return to the earlier world of the Dances, but with a minor, more ambiguous shading.

The closing minutes of the Symphony pose an important question. We have a defiant fanfare (one of the loudest passages in the symphony), followed by a shift to the major key and a quiet ending. But is this a resolution? A positive outcome? A clue is provided in the following talk with Arnold, in which the composer remarked that he saw it when it was written as probably his last work - hence a finis, a major chord, to bring a lifetime of work to an end. But surely one of the most unsatisying major conclusions to a minor key work ever.

A clear, beautifully controlled and focussed performance that completes the Arnold symphonic canon that brings it, within the purchasing range of the less well-off collector interested in investigating this seriously underrated composer.
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