Composer: Sir Malcolm Arnold
Works: A Grand, Grand Overture, Opus 57; Carnival of Animals, Opus 72; Concerto for 2 Pianos (3 Hands), Opus 104; Serenade, Opus 26; Larch Trees, Opus 3; English Dances, Opus 27 (arr for brass band); English Dances, Opus 33 (arr for brass band); Scottish Dances, Opus 59 (arr for brass band); Little Suite No. 1 for Brass Band, Opus 80; Cornish Dances, Opus 91 (arr for brass band); Little Suite No. 2 for Brass Band, Opus 93; The Padstow Lifeboat, Opus 94; Fantasy for Brass Band, Opus 114; Overture, Beckus the Dandipratt, Opus 5; Anniversary Overture, Opus 99; Guitar Concerto, Opus 67
Performers: Royal Philharmonic Orchestra/Vernon Handley; David Nettle & Richard Markham (pianos); London Musici/Mark Stephenson; Grimethorpe Colliery UK Coal Band/Elgar Howarth; Julian Bream (guitar)/Melos Ensemble
Recording: RCA 1959, RCA & Conifer 1992-97 (remainder)
Label: RCA
Sir Malcolm Arnold’s oeuvre, often characterized by its engaging wit and vibrant orchestration, finds a fitting tribute in this expansive collection released to celebrate his 80th birthday. The selection, while showcasing a variety of Arnold’s works, inevitably raises questions about the comprehensive representation of his artistic persona. The title “The Collection” may mislead those who seek to grasp the full spectrum of Arnold’s contributions, as it offers a curated glimpse into his lighter, more playful side while neglecting the profound emotional depth found in his symphonic and chamber works.
The performances, particularly those conducted by Vernon Handley, demonstrate a commendable commitment to Arnold’s idiomatic style. Handley’s interpretations of the overtures, notably the charmingly eccentric “A Grand, Grand Overture,” capture the playful spirit intended for its original performance context. However, the absence of the visual element inherent to this piece—featuring unconventional instruments like vacuum cleaners—leaves a certain flatness in the listening experience. The recording does succeed in conveying Arnold’s humor, yet the performance lacks a visceral component that would elevate it beyond mere auditory enjoyment.
The recording quality of this collection is generally robust, particularly in the archival 1959 recording of the Guitar Concerto performed by Julian Bream. Here, Bream’s nuanced phrasing and lyrical interpretation breathe life into the score, showcasing the concerto’s blend of technical demands and melodic beauty. The Melos Ensemble, under Arnold’s own direction, provides a polished accompaniment that balances clarity and warmth, making it a standout moment in the anthology. Comparatively, the more recent performances, while technically sound, do not always achieve the same level of interpretive insight or spontaneity.
Arnold’s works for brass band, such as the arrangements of the “English Dances” and “Scottish Dances,” present a conundrum. While these pieces are well-executed by the Grimethorpe Colliery Band under Elgar Howarth, the arrangements—crafted by Eric Farr rather than Arnold himself—dilute the composer’s unique voice. The brass band setting, while historically significant in Arnold’s oeuvre, overshadows the orchestral originals and may leave listeners yearning for the authentic textures and colors that Arnold intended in his full orchestral scores.
The collection serves as a valuable entry point into Arnold’s world, highlighting his mastery of light music and the charm that has endeared him to audiences. However, it also underscores the limitations of a selection that purports to encapsulate a composer’s legacy. While the lighter works are enjoyable and expertly performed, they do not fully articulate the complexities and darker nuances that define Arnold’s artistic identity. This compilation, despite its merits, ultimately suggests that the essence of Sir Malcolm Arnold’s genius is better experienced through a broader and more inclusive lens of his diverse body of work.
