Ye Olde Englishe tunes

Press, 4 May 1981, Page 18

Ye Olde Englishe tunes

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ALLAN FRANCIS

20th-CENTURY ENGLISH ML SIC. Warlock, Capriol Suite. Leigh, Concertino for Harpsicord and Strings. Ireland, Holy Boy. Butterworth, Two English Idylls. Moeran, Lonely Waters, Whythorne’s Shadow. World Records WE 3486 from II.MV CSI) 3705.

An enchanting collection, every one of them, warmly played by the English Sinfonia conducted by Neville Dilkes and focusing mainly on pieces realised in the 20th century but all harking back to the rich era of English music from earlier centuries. Slightly off the beaten track, these pieces range from possibly the feature work, Walter Leigh’s Concertino to the lesser known remnants of George Butterworth’s delectable repertoire. The Concertino also has overtones of J. S. Bach with a three-movement constructions and the conductor on harpsicord. It is a sparkling little piece, just over 10 minutes long containing an intimate discussion between strings and soloist and ending in good-humoured agreement on all points. George Butterworth's preoccupation with the sights and sounds of the countryside is just as evident in the Idylls as it was in his better known Shropshire Lad and Banks of Green Willow. The Idylls are thinner than the two latter, thereby justifying the greater popularity, but they are. nevertheless, delicately reflective.

The quiet spirited E. J. Moeran is in much the same vein as Butterworth, and he, too, was fastidiously gentle in his composition. From a small but choice book of pieces both men discarded all but those which satisfied their own high standards and this is what we hear on the record under review, along with others of the same ilk.

J. S. BACH — James Galway Plays Bach. Flute Concertos in A minor and E minor. Suite in B minor BW'V 1067 with the Zagred Soloists on RCA cassette VRK 7162, also released by World Records.

Despite the many hands which will be raised in horror at the prospect of yet another chapter in the Galway super edition, this will overcome all prejudices, the possible over-exposure or the "playing down” of that irrepressible Irishman flautist. True, he has got enough on the record shelves to win him the title of the Opportunist of the Year, but when that delightful instrument is heard under these conditions Galway sweeps aside the. critics’ with Bach performances of this stature. All is sunshine in the Flute Concertos. Beautifully recorded by RCA and exquisitely played by Galway these are a must for any Bach buff, or indeed any classic lover. The strings have a singing quality with the harpsicord again lending a sparkle to the proceedings.

The morning-fresh melodies, combined with the sheer good humour of these works show Bach at his most relaxed and benign best.

The few sober moments in the Suite are dutifully translated by Galway with tenderness and understanding. A seven movement work, which is both generous in quality and quantity. The popular Badinerie is played at a very fast clip, while the ending is more Galway than Bach. Highly recommended.

G. F. HANDEL — Concert! a due Cori. Academy of St Martins in the Fields conducted bv Neville Marriner. Philips 9500 756. Due Cori? Every Handelian knows that this is not so. Each -work is scored for

throe instrumental groups, but this is incidental carping as the works are somewhere near the the pinnacle of Handel's instrumental writing. rich in texture, and containing many themes from the Messiah. In each concerto there, is a central group of strings and continue with two antiphonal groups of wind instruments, each consisting of two oboes and bassoon, plus two pairs of horns in the F major concertos. The works are full of vigour and the type of recording one is proud to play as showcases for the composer. Very distinguished contributions from the soloists, Celia Nicklih and Barry Davis, oboes, and Timothy Brown with Robin Davis, horns. Not to overlook the very fine ensemble under Neville Marriner.

The string sound is silky without being shrill and the cellos have a nicely resonant ambience without being flabby. Marriner's approach is scholarly, but not as arch as Leppard on the earlier Philips -recording, 6570 114, (or 6580 212). Strangely enough, there are not many rivals in the catalogue at all, although Leppard produced three ‘‘definitive” accounts of the set. It was inevitable that Neville ' Marriner should reach this particular set himself, and as an imported recording it is especially rare in both availability as well as interpretively. . This one is a fine supplement- to the Concerti Grossi of earlieir days with the Collegium Aureum.