Celtic Fantasies by William Wallace: Enchanting Interpretation by the Ulster Orchestra

Composer: William Wallace
Works: Celtic Fantasies: The Minstrel Boy and Rory O’More; The Bard’s Legacy; Coolun; St. Patrick’s Day; The Meeting of the Waters and Eveleen’s Bower; Melodie Irlandaise; Annie Laurie; Roslin Castle and A Highland Lad My Love Was Born; Impromptu on Somebody and O, for Ane and Twenty Tam; The Keel Row; Ye Banks and Braes; Charlie is My Darling and The Campbells are Comin’; My Love is Like a Red, Red Rose and Come O’er the Stream, Charlie; Comin’ Thro’ the Rye; The Last Rose of Summer; Kate Kearny and Tow, Row, Row; Robin Adair; Auld Lang Syne and The Highland Laddie
Performers: Rosemary Tuck, piano
Recording: Large Room, City Hall, Wexford, October 2001
Label: CALA-UNITED CACD 88042

William Wallace, a composer whose life spanned the tumultuous years of the 19th century, imbues his works with a distinctively romantic and nationalistic fervor, particularly evident in his “Celtic Fantasies.” These pieces, a vibrant tapestry of Irish melodies, reflect not only Wallace’s virtuosity but also his deep engagement with the cultural currents of his time. His background as a pianist and conductor, coupled with a life replete with wanderlust and personal tribulations, lends an intriguing context to this collection, particularly as it showcases the mid-century salon style that Wallace mastered.

Rosemary Tuck’s interpretation of these pieces is both scholarly and spirited. Her approach to “The Minstrel Boy” begins with a grandiose and elaborate introduction that captures the listener’s attention before seamlessly transitioning into the simplicity of the main theme. The swirling figurations that adorn this introduction are executed with finesse, revealing the intricate workings of Wallace’s compositional technique. The subsequent piece, “The Bard’s Legacy,” allows Tuck to display her lyrical prowess, as she navigates the delicate treble motifs and supports them with a robust left-hand accompaniment. This balance of sound is a hallmark of her interpretation, demonstrating a keen awareness of the music’s inherent contrasts and emotional depth.

Throughout the recording, Tuck employs a range of pianistic effects that Wallace himself would have utilized, including broken octave passages and cadenzas that punctuate the melodies with flair. The technical demands of pieces like “Eveleen’s Bower” are met with confidence, the rollicking rhythms brought to life by Tuck’s vibrant touch. Her interpretation of “Ye Banks and Braes,” on the other hand, strikes a more contemplative note, with a simplicity that captures the essence of the Irish folk tradition. Tuck’s ability to shift between these varied emotional landscapes speaks to her mastery of the repertoire and her deep understanding of Wallace’s stylistic nuances.

The recording quality is commendable, capturing the resonant acoustics of the Large Room in Wexford. The clarity of Tuck’s sound invites the listener into the intimate world of Wallace’s compositions, allowing the intricacies of her performance to shine through. The engineering effectively balances the piano against the hall’s natural reverb, ensuring that each note is articulated with precision while still conveying the lush harmonies that Wallace so artfully constructs.

Within the broader context of recorded performances, Tuck’s rendition stands out for its combination of technical skill and interpretative insight. While other recordings of Wallace’s works may focus on sheer virtuosity, Tuck’s approach is imbued with a sense of narrative and emotional resonance that elevates the music beyond mere display. The interplay of thematic material in “Robin Adair,” for instance, is rendered with a warmth and tenderness that feels both authentic and deeply personal.

The collection of “Celtic Fantasies” is a delightful exploration of Wallace’s contributions to the piano repertoire, rendered with expertise and expressive depth by Rosemary Tuck. Her performance encapsulates the essence of Wallace’s musical language, blending technical brilliance with lyrical sensitivity. This recording not only preserves the charm of Wallace’s works but also revitalizes them, inviting both seasoned aficionados and newcomers to appreciate the rich tapestry of his musical heritage.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.