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Arnold: Symphonies Nos. 5 & 6
 
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Arnold: Symphonies Nos. 5 & 6

~ Malcolm Arnold (Composer), Andrew Penny (Conductor), National Symphony Orchestra of Ireland (Orchestra)
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Arnold: Symphonies Nos. 5 & 6 + Arnold: Symphonies Nos. 7 & 8 + Arnold: Symphonies Nos. 3 & 4
Price For All Three: £15.76

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Product details

  • Orchestra: National Symphony Orchestra of Ireland
  • Conductor: Andrew Penny
  • Composer: Malcolm Arnold
  • Audio CD (30 April 2001)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Naxos
  • ASIN: B00005B4C7
  • Other Editions: MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 47,660 in Music (See Bestsellers in Music)

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Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Samples
Song Title Time Price
Listen  1. Symphony No. 5, Op. 74: I. Tempestuoso10:38Album Only
Listen  2. Symphony No. 5, Op. 74: II. Andante con moto10:51Album Only
Listen  3. Symphony No. 5, Op. 74: III. Con fuoco 5:06£0.69
Listen  4. Symphony No. 5, Op. 74: IV. Risoluto 6:09£0.69
Listen  5. Symphony No. 6, Op. 95: I. Energico 8:16Album Only
Listen  6. Symphony No. 6, Op. 95: II. Lento 9:19Album Only
Listen  7. Symphony No. 6, Op. 95: III. Con fuoco 7:04£0.69

On this CD:
  1. Symphony No. 5
    Composed by Sir Malcolm Arnold
    Performed by National Symphony Orchestra of Ireland
    Conducted by Andrew Penny

  2. Symphony No. 6
    Composed by Sir Malcolm Arnold
    Performed by National Symphony Orchestra of Ireland
    Conducted by Andrew Penny

Product Description

BBC Music Magazine

Listening to the Fifth and Sixth Symphonies of Malcolm Arnold, without reference to earlier and happier works, you may well wonder how it was he ever came to be considered a popular composer. The clown's smile for one thing - smile with turned-down corners: what really lies behind it? The humour of the Fifth Symphony, found mostly in its traditional place, the scherzo, is miles away from the belly-laughs of the Grand, Grand Overture's vacuum cleaners, while the 'popular' elements of the Sixth, the jazz figurations inspired by saxophonist Charlie Parker and well captured by Handley and the RPO, only add to the overwhelming unease that marks both works for its own. With hindsight, this tension is seen to meet its nemesis in the Seventh and Eighth, yet to be released on Naxos, though Andrew Penny's outstanding first recording of the enigmatic Ninth already stands as a goal for the series. Crazy mood swings punctuate earlier scores, of course: who could forget the savage march intruding on the Fourth's finale? But the locus classicus is the luxurious tune of the Fifth's Andante con moto, famously distorted at the end of the finale. For performers the challenge is not just to play the notes, but to imbue them with both sincerity and falseness, and Penny does this better than his rivals, Hickox and Handley; even better, perhaps, than the composer himself with the CBSO in 1973, whose reading nonetheless still carries the field for the sheer exaggeration of its musical camp.

Performance ****
Sound ***

© BBC Music Magazine 2001

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4 of 4 people found the following review helpful:
4.0 out of 5 stars Committed performances of two rather discursive works, 12 Jul 2001
By chris_breemer@nl.compuware.com (Lopikerkapel, The Netherlands) - See all my reviews
As a keen follower of Andrew Penny's series of Malcolm Arnold symphonies, I'm not yet able to warm to these two symphonies like I did to nrs. 1-4 and 9. I had been warned, I suppose. Arnold the symphonist is a far tougher nut than the composer of the film music and the various Dances sets, and these symphonies of his middle period show a somewhat darker side of his musical personality. New ideas pop up around every corner, some of them priceless (an Arnold hallmark) but I don't yet feel these works hang together as well as the previous symphonies. There is much to admire though, and it may be true that works like this only reveal their full qualities on repeated hearing. The finale of the fourth symphony is the most consistently argued movement here, a fascinating and grim progression lightened up by bursts of hilarious drum-and-fife fanfare. I wonder whether it's inspired by the Orangist marches in Northern Ireland. What I do regret is the sudden return to the sentimental tune of the second movement (a musical wedding of Mahler's famous Adagietto with one of Arnolds's own English Dances), and the strange modulation that ends the symphony. It leaves me with a disappointing feeling that we had something good going, but the composer suddenly changed his mind for no good reason. Or worse, got bored with it.

Should these works ultimately feel to convince me, it will certainly not be the performer's fault. Penny and the Irish RTE Orchestra are reliable and committed and play this music for all it's worth - which is probably more than I realize just now. The sound is excellent, the brass and percussion especially well articulated (which is absolutely essential in this music).

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