Neville Dilkes Conducts English Music, Vol. 3

In 1971-72, EMI had Neville Dilkes and his English Sinfonia record two volumes of mostly short English works, which recently appeared here. For their third LP, Dilkes and ensemble made the first stereo recording of E.J. Moeran's impressive Symphony in G minor. (The very first recording of the symphony, dating from 1942, is included at the end of this post.)

The symphony was not Dilkes' first Moeran recording. The composer's Two Pieces for Small Orchestra were featured in the 1972 set. The symphony, which dates from the 1930s, is a much more ambitious work.

E.J. Moeran

The contemporary reviews stressed the composer's influences, principally Walton and Sibelius. But the symphony holds its own quite well and is a substantial achievement.

Edward Greenfield's review in The Gramophone (included in the download) is an example of such criticism. He does, however, add this disclaimer: "I have indicated, maybe with too great an emphasis, some of the obvious influences, not with the thought of disparaging the music but of leading new listeners to a gloriously rich experience. Paradoxically in this work with its obvious eclecticism Moeran seems to be more fully himself than anywhere else. Beautiful as much of Moeran's other music is, I do not detect the same life-thrust."

Neville Dilkes

Greenfield was enthusiastic about the recording itself: "This performance by Neville Dilkes and the English Sinfonia sets the seal on the two previous records of British music which they have made for EMI. The violin tone may not be quite so resonant as with some metropolitan orchestras, but against a richly recorded texture one quickly adjusts to it. The brass and woodwind are superb, enunciating Moeran's sharp rhythms with the finest precision. Dilkes shows himself an expressive conductor, treating Moeran as one would expect Sir John Barbirolli to have done, and the whole orchestra, not least the string section, responds wholeheartedly."

The Hallé/Leslie Heward Recording

Leslie Heward

It is idle to speculate about what Barbirolli's recording might have been like, considering he never made one. The only previous release of the symphony was in 1942 by the Hallé Orchestra under Leslie Heward, a fine conductor who died young. The critical response to the Heward disc was just as enthusiastic as the reaction to Dilkes' performance. From an unsigned review, possibly by Compton MacKenzie, in The Gramophone: "[H]ere is a work strong in tensions, with lyrical episodes, most imaginatively scored; informal drama, tragic rather than humanely-comedic (though not for long doom-darkened): a work to spend a lot of time on." Not entirely sure what all that means, but perhaps you get a general idea. It's an impressive performance that does full justice to the work. The sound is good.

LINK to the English Sinfonia/Dilkes recording

LINK to the Halle Orchestra/Heward recording

Neville Dilkes Conducts English Music, Vol. 2

Neville Dilkes' first LP of English music was popular around these parts, so here is the second volume. It was released in early 1972, so it was probably recorded in 1971 - possibly at the same sessions that produced the earlier album.

For this set, the conductor again chose 20th century composers, all of whom were inspired by early music or folk song. George Butterworth returns, joined by Walter Leigh, Peter Warlock, John Ireland and E.J. Moeran.

Neville Dilkes

As with the previous record, the critics were pleased. Here is Edward Greenfield in The Gramophone: "An enchanting collection, every item of which I warmly commend to lovers of English music ... If anything the playing on this second disc from the English Sinfonia is even better than on the first with warm, firm string tone. The recording is vivid and involving in the same way as before, though not surprisingly the harpsichord is balanced very far forward in the Concertino ..."

Walter Leigh

The LP begins with perhaps the least familiar music of all the pieces recorded - the Harpsichord Concertino by Walter Leigh, a highly skilled composer killed in the Second World War at age 36. The work is an utter delight, blending neo-classicism with a pastoral influence in the gorgeous Andante. Pace Mr. Greenfield, but I do not think Dilkes' fluent harpsichord playing is too loud, nor do I agree that the Andante is taken too slowly.

The Holy Boy, a carol, is perhaps the best known work by John Ireland (1879-1962). Originally for piano, it exists in 16 different arrangements by the composer and others Here it is found in the 1941 version for string orchestra.

George Butterworth

Butterworth is represented by his two English Idylls. As Greenfield wrote, they "are less elaborate than the more famous tone poems which Dilkes included on his earlier disc of English music but they reflect a completely uninhibited approach to folk-song, a simple joy in morning - fresh melodies played as often as not on the orchestra's nearest relation to a pastoral reed-pipe, the oboe."

Peter Warlock

From another short-lived composer, Peter Warlock (Philip Heseltine), who lived from 1894-1930, we have his sparkling Capriol Suite of dances, inspired by Renaissance music. This captivating music is perhaps his most popular work, although his best is probably the haunting song cycle The Curlew on Yeats poems. It has appeared here in the recording by Alexander Young and instrumentalists, which is newly remastered. Constant Lambert's recording of the Capriol Suite can be found here.

John Ireland and E.J. Moeran

E.J. Moeran (1894-1950) was a friend of both John Ireland and Peter Warlock. On this LP, we have his Two Pieces for Small Orchestra. The first, Lonely Waters, elaborates on a Norfolk folk song. Its companion, Whythorne's Shadow, takes inspiration from a work by the Elizabethan composer Thomas Whythorne. In both cases, the source works are transformed greatly by Moeran's artistry.

This is another well-recorded and absorbing release from the English Sinfonia and Dilkes. Next in this series is their recording of Moeran's Symphony in G minor.

LINK

Neville Dilkes Conducts English Music, Vol. 1

The conductor Neville Dilkes, who died recently aged 94, did not make many records, but the ones he did fashion are widely admired both for their performances and their sound.

This is his first record, dating from 1971, where he led his own group the English Sinfonia in 20th century music by George Butterworth, Hamilton Harty, Frank Bridge and Arnold Bax.

Neville Dilkes

Dilkes formed the English Sinfonia as the Midlands Sinfonia in 1961, eventually locating it in Nottingham, although the ensemble played throughout the Midlands. The Sinfonia is still is existence, although it now performs in Chesham, near London. The Sinfonia's website does not mention Dilkes or his passing, as far as I can tell.

The Gramophone's critic Edward Greenfield was pleased by the LP: "The performances are immensely enjoyable, bound as they are by the obvious warmth and enthusiasm of the players, and presented with rich and immediate sound." He does, however, complain about the string tone, which is, as he mentions, is not always ideally sweet and precise.

Hamilton Harty

The first side of the LP contains lighter music, starting with composer-conductor Hamilton Harty's seldom-recorded John Field Suite of 1939, a tribute to the Irish composer who lived from 1782-1837. The work begins with an bouncy polka, moderating to a lovely nocturne and waltz, followed by a lively rondo.

Arnold Bax

The first side is completed by what might be Arnold Bax's cheeriest work, the Dance in the Sunlight, one of his Four Orchestral Pieces of 1912-13.

George Butterworth

The second side begins with the two best known works by George Butterworth, who died in the First World War - the orchestral rhapsody A Shropshire Lad of 1911 and the idyll The Banks of Green Willow of 1913. The latter in particular is now well-known. Both of Butterworth's pieces make skillful use of folk song, with A Shropshire Lad also being inspired by A.E. Housman's poetry.

Greenfield's view: "Neville Dilkes's interpretations are urgent, even thrustful, and though no doubt some Butterworth devotees will prefer something more contemplative, I must say that this approach quickly had me sympathising."

Frank Bridge

Frank Bridge has the indignity of being best known as Benjamin Britten's teacher, but he was a composer of atmospheric, evocative works such as There is a Willow grows aslant a Brook, prompted by Queen Gertrude's description in Hamlet of the death of Ophelia. This work contests with The Banks of Green Willow for the finest music on the LP. It is haunting.

"Bridge's There is a Willow grows aslant a Brook is the subtlest and most difficult of the pieces here," wrote Greenfield, "and it receives the finest performance, a formidable challenge well taken."

As usual with these posts, the download includes the review quoted above; also, an article on Dilkes from the same magazine and year. A second post will include Dilkes conducting more music by Butterworth along with compositions by Walter Leigh, Peter Warlock, John Ireland and E.J. Moeran.

LINK