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Cyril Scott: Symphony No. 3 "The Muses"; Piano Concerto No. 2; Neptune
 
 
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Cyril Scott: Symphony No. 3 "The Muses"; Piano Concerto No. 2; Neptune

~ Cyril Scott (Composer), Martyn Brabbins (Conductor), BBC Philharmonic Orchestra (Orchestra), Howard Shelley (Piano)
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Cyril Scott: Symphony No. 3 "The Muses"; Piano Concerto No. 2; Neptune + Cyril Scott: Piano Concerto No. 1; Symphony No. 4; Early One Morning + Cyril Scott: Violin Concerto; Festival Overture; Aubade; Three Symphonic Dances
Price For All Three: £38.07

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Product details

  • Orchestra: BBC Philharmonic Orchestra
  • Conductor: Martyn Brabbins
  • Composer: Cyril Scott
  • Audio CD (5 April 2004)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Chandos
  • ASIN: B0001XLVXQ
  • Other Editions: MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 160,347 in Music (See Bestsellers in Music)

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

Samples
Song TitleArtist Time Price
Listen  1. Symphony No. 3, "The Muses": I. Melpomene (Muse of Epic Poetry and Tragedy): Andante sostenuto - Molto maestoso -Martyn Brabbins14:33Album Only
Listen  2. Symphony No. 3, "The Muses": II. Thalia (Muse of Comedy and Merry Verse): Allegro con spiritoMartyn Brabbins 5:40£0.59
Listen  3. Symphony No. 3, "The Muses": III. Erato (Muse of Love and Poetry): Molto tranquillo -Martyn Brabbins 6:43£0.59
Listen  4. Symphony No. 3, "The Muses": IV. Terpsichore (Muse of Dance and Song): Molto moderato e ritmicoMartyn Brabbins 7:55£0.59
Listen  5. Piano Concerto No. 2: I. Con moto - Meno mosso - Vigoroso -Howard Shelley 9:46Album Only
Listen  6. Piano Concerto No. 2: II. Tranquillo pastoral - Adagio - Tempo I -Martyn Brabbins 4:49£0.59
Listen  7. Piano Concerto No. 2: III. Energico - Grazioso - Moderato - Tempo IHoward Shelley 5:43£0.59
Listen  8. Neptune: Andante - Molto maestoso -Martyn Brabbins 5:34£0.59
Listen  9. Neptune: Con moto - Largo -Martyn Brabbins 1:40£0.59
Listen10. Neptune: Tempo di valse - Molto cantbile - Wistfully -Martyn Brabbins 3:39£0.59
Listen11. Neptune: Allegro agitato -Martyn Brabbins 9:28Album Only
Listen12. Neptune: Adagio molto - TristamenteMartyn Brabbins 4:02£0.59

On this CD:
  1. Symphony No 3 'The Muses'
    Composed by Cyril Scott
    Performed by Huddersfield Choral Society
    Conducted by Martyn Brabbins

  2. Concerto for Piano & Orchestra No 2
    Composed by Cyril Scott
    with Howard Shelley
    Conducted by Martyn Brabbins

  3. Neptune
    Composed by Cyril Scott
    Conducted by Martyn Brabbins

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12 of 12 people found the following review helpful:
4.0 out of 5 stars A voyage of discovery, or disaster at sea?, 28 April 2004
By Dr. Richard M. Price (London, UK) - See all my reviews
(REAL NAME)   
This is a welcome and adventurous issue, since, quite apart from the current neglect of Cyril Scott, his orchestral music never received much attention, apart from periodic revivals of his hugely enjoyable First Piano Concerto. The present issue features major works from all three periods of his production in well-prepared and sensitive performances.'Neptune' is a revised version of 'Disaster at Sea', a long tone poem depicting the sinking of the Titanic that was started in 1918 and completed in 1926 (as Cyril Scott's son Desmond has informed me). There was belatedly a performance in 1933, when the critics panned the work as film music. Scott responded by removing the more crudely programmatic parts of the score in a revised and renamed version of the work, which was published in 1935 but has gone unperformed till now. Equally neglected was Scott's most ambitious work of the period, the symphony 'The Muses'; it was published in 1939, but this recording is again the first known performance. Both these works are strongly reminiscent of Debussy and Ravel. More individual is the third work on this CD, the Second Piano Concerto of 1958, the existence of which wasu nknown until John Ogdon and the LPO recorded it for the Lyrita label in1 976.
'Neptune' exploits its musical ideas in a rather leisurely fashion; only the programme (which Scott tried to play down) explains its length. But the orchestration is masterly: there is a wealth of original effects, and the texture remains beautifully diaphanous throughout. As the leaflet notes helpfully bring out, you cannot escape the programme, for the very good reason that such contrasting details as the blown spray and the massive bulk of the liner are depicted with Strauss-like vividness. The final pages, depicting the cold and desolate ocean after the sinking of the ship, is perhaps Scott's finest epilogue. If this is film music, so much the better for film music.
The Second Piano Concerto is a tougher nut to crack. The harmony is wholly distinctive and impressively gritty, and perfectly matched by the hard and thick orchestral writing. But the musical ideas are short-breathed and never seem to lead anywhere. The waywardness, at times almost inconsequentiality, of late Scott has its charms -- as in the hugely attractive Third Piano Sonata --, but this work is too earnest to possess the same appeal. The Neapolitan Rhapsody (available on a Marco Polo CD) and the Fourth Symphony (on another Chandos release) are more satisfactory examples of Scott's late orchestral writing.
That leaves the symphony. Harmony, orchestration, and rhythmic verve are all close to Ravel, though more wayward and exotic. As in Neptune, the orchestration is imaginative, and wonderfully well served by the precision of playing and magical sound in this altogether exemplary recording. The long first movement, dedicated to the muse of tragedy, sustains a sinister, brooding atmosphere that seems to promise a work of symphonic seriousness, but this is not sustained in the rest of the work. The final movement introduces a wordless choir, reminiscent of Debussy's Sirens (the work frequently sounds as if about to develop into a sea symphony); it soon settles into an idiom more suitable for the last movement of a ballet suite than a symphony.
What is distinctive in Scott is the curious combination of fin de siècle preciosity, unbuttoned ebullience, and inner detachment; a work of symphonic length and pretensions needs something more than this. On the other hand, the smaller genres gave Scott inadequate scope to express his personality. There remain as the key part of his output the longer piano works and the mass of chamber music. Six CDs dedicated entirely to Scott have appeared in the last twelve years. The one that shows him at his best is the Dutton CD of three string quartets, issued a month ago -- to which I would now (2008) add the new Dutton recording of his Sonata Lirica for violin and piano. But those who take to Scott's idiom and personality will certainly want this orchestral CD as well.
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