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Victorian Concert Overtures
 
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Victorian Concert Overtures

~ Various Composers (Artist)
4.0 out of 5 stars  See all reviews (1 customer review)
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Product details

  • Audio CD (19 April 2002)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Hyperion
  • ASIN: B00006644A
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 182,003 in Music (See Bestsellers in Music)

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On this CD:
  1. Chevy Chace
    Composed by Sir George Alexander Macfarren
    Performed by English Northern Philharmonia
    Conducted by David Lloyd-Jones

  2. Romeo and Juliet
    Composed by Henry Hugo Pierson
    Performed by English Northern Philharmonia
    Conducted by David Lloyd-Jones

  3. Macbeth
    Composed by Sir Arthur Sullivan
    Performed by English Northern Philharmonia
    Conducted by David Lloyd-Jones

  4. Prospero
    Composed by Frederick Corder
    Performed by English Northern Philharmonia
    Conducted by David Lloyd-Jones

  5. Froissart
    Composed by Sir Edward Elgar
    Performed by English Northern Philharmonia
    Conducted by David Lloyd-Jones

  6. Overture to an Unwritten Tragedy
    Composed by Hubert Parry
    Performed by English Northern Philharmonia
    Conducted by David Lloyd-Jones

  7. Britannia
    Composed by Sir Alexander Mackenzie
    Performed by English Northern Philharmonia
    Conducted by David Lloyd-Jones

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1 of 1 people found the following review helpful:
4.0 out of 5 stars Fascinating and enjoyable overtures from 'the land without music', 7 Jun 2009
By J. A. Peacock "adalard" (Manchester, UK) - See all my reviews
(REAL NAME)   
In 1904, a German writer coined the phrase "Das Land Ohne Musik" ("the land without music") for the British Isles, putting into words the long-standing feeling that Britain had no solid composing tradition of its own. In the Victorian era, there is some truth in that but although Britain may not have produced a composer of international standing until Elgar arrived on the scene, there was an active milieu of music production and performance throughout the nineteenth century. Some of the later composers, such as Parry and Stanford have seen reappraisal and recording in recent years, but there is still a wealth of music from the first half of the century out there and in need of re-evaluation.

This well-performed and well-recorded set of overtures offers a fascinating overview of what - now mostly unheard - composers were doing during this period. Mendelssohn was a dominating influence on British musical life, but interestingly Lloyd-Jones' selection shies away from pieces that were obviously in thrall to that composer - there are none of Sterndale Bennett's rather pallid imitations of his concert overtures, for example.

The disc opens with Macfarren's `Chevy Chace', a fairly popular work in its time and actually conducted by Wagner - if any composer could be said to have influenced this work, it is perhaps Berlioz, in its vibrant rhythmic energy and colourful orchestration. It makes for a splendid curtain raiser. It is followed by another overture that looks to the non-Mendelssohnian currents in Europe for its inspiration: Henry Hugo Pierson's `Romeo and Juliet' has a similarly enterprising use of orchestration and an approach to structure that engages with the more free formal devices of the New German school. His willingness to experiment didn't find a welcome response in the conservative, British musical world and he apparently relocated to Germany.

Not all the works on this disc are as interesting as those two but none of them are anything less than enjoyable, even Mackenzie's rambunctiously patriotic `Britannia'. Of the later pieces, Corder's `Prospero' stands out for its sonorously beautiful orchestration and warm melodic writing. Rather than Elgar's `Froissart', it would perhaps have been nice to see some rarer pieces given an airing - maybe one of Cipriani Potter's Shakespeare overtures, described as "masterly" in Nicholas Temperley's `New Grove' article on that composer; Potter's cycle of symphonies and other orchestral works are long-overdue the attention they deserve.

All in all this is a fascinating and enjoyable disc, with two or three real gems that it has been a delight to discover. Originally issued on Hyperion, it is now re-released on their lower-price Helios label and is a real bargain. Recommended.
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