Cliffe Symphony No.2 Recording Project

[Alan Howe]

Yes: it would be good to hear from those who have now received their copy...

[giles.enders]

While browsing through a November 1904 copy of Musical Times, I came across a letter from Walter Alcock who states that when Sullivan started his composition class at The National Training School,( now The Royal College) he selected only three pupils Cliffe, d'Albert and himself.

[Mark Thomas]

First impressions, after two listens:

The quality of the recording itself is, to be honest, much better than I thought it might be and is fully up to the standard, say, of a good quality radio broadcast, if lacking the breadth and fine detail of a first-rate commercial issue. Although the orchestra is slightly distant, to me the acoustic is very similar to what one would get in a concert hall, as opposed to the fine-tuned sound of a studio recording. The playing itself is of a uniformly high quality and everyone is clearly very committed. So, no complaints on either count there. The CD is to all intents and purposes a professional production, complete with a colour booklet which has excellent and extensive notes from Christopher Fifield, who I think has realised his birthday project with a care and vision of which he should be proud. Those of us who subscribed to it should be very grateful.

What of the music itself? The Coronation March is already available in our Downloads board here, so I won't spend any time describing it. As for the Symphony No.2, Alan has already given us some of the headlines. At almost exactly an hour long it is a very expansive four movement piece which, although written just three years after the familiar First, represents a huge technical advance on its predecessor. In it Cliffe clearly embraces the influence of Wagner (and possibly Bruckner) in writing what must have seemed a very modern work at the time of its premiere. His skill as an orchestrator is even more evident in this work than in the First, and he delivers a very impressionist sound scape in illustrating his sunset-to-morning programme. The whole piece has a surprisingly rhapsodic, almost seductive atmosphere to it which, together with its sprawling canvas, bizarrely reminded me both of Debussy's orchestral works and of Glière's Ilja Muramets. It's really like no other pre-WWI British symphony.

Is it a lost masterpiece? I honestly don't know. Although it is clearly a huge advance on the First in so many ways, so far I am unconvinced. For me, although Christopher Fifield's tempi seem entirely appropriate and in keeping with the work, its very length counts against it because it exposes some of the Symphony's shortcomings. The programme naturally dictates that the 16 minute long opening movement "At Sunset" will contain music of a generally moderate tempo, but it's followed by the 19-minute long episodic (and rather beautiful) slow movement "Night", which slows things down even further. The third movement "Fairy Revels" is perhaps the most conventional movement (for the 19th century), but even then it's not exactly fleet of foot. The final "Morning" is a well-wrought conclusion which ends in a blaze of orchestral colour and definitely doesn't outstay its welcome, despite lasting almost a quarter of an hour. I'm not a great fan of "heavenly length", and my first impressions are that Cliffe here has been self-indulgent and didn't need to spread his material as far as he did, although to be honest I'm also hard put to point to any particular passage which should have been edited out to good effect. This impression is not helped by the fact that so far I have found Cliffe's thematic material in the Symphony to be much less memorable that in other works of his, and sometimes rather commonplace.

Perhaps, despite the finale's recall of material from the preceding movements, each of them might have had a more successful life than the Symphony itself achieved had they been independent symphonic poems? No doubt others will disagree, and I hope that they do because in so many ways this is an important and impressive work. For myself, I'm still hugely grateful to Christopher for giving us the chance to hear it, and as I will continue to do.

[Martin Eastick]

After having just had a first listen, I can definitely say that the symphony made more of a positive impression than perhaps I was anticipating! Am I not alone in hearing more than a hint of Raff in the first movement? I feel that the second movement is perhaps the least convincing of the four, with the material not strong enough (IMHO) to sustain interest for its almost-20-minutes duration, and, yes,  I did find my attention wandering - but I need to give this more of a chance in repeated listenings! The scherzo, whilst not of the quickest, does again remind me of Raff, and with a strong finale which doesn't disappoint, this symphony, as a first impression, is well worthy of the eager anticipation its availability now satisfies. The Coronation March speaks for itself, although it was a welcome re-aquaintance, as I was present at the live performance. Overall, though, Christopher Fifield, through his continued and ongoing commitment to this and similar unsung repertoire, done us all proud once again!

[Mark Thomas]

I must admit that I didn't hear much Raff in the first movement, Martin, but there is a dash of him in the scherzo I suppose - or is it just the familiar association of "faerie" scherzos with Raff which suggests it? More listening required, I think!

[Alan Howe]

The more I listen to Cliffe 2, the more I think that the key is to approach it in the same way one would a symphony by Bruckner. The idiom isn't really Brucknerian, though: it's much more indebted to Wagner. But, as Mark says, the music is predominantly slow-moving, with only the third movement offering much in the way of relief. Mind you, the climaxes are fabulous (try around 13 and a half minutes into the first movement).

What's clear is that this must have sounded extraordinarily modern in 1892. Cliffe is miles ahead, symphonically and compositionally speaking, of his contemporaries.

My view, FWIW, is that this is a quite glorious masterpiece. But I understand precisely where Mark T. is coming from...

[Alan Howe]

A note on the second movement: I don't find it any more difficult to follow - or discursive -  than, say, the slow movements of either Bruckner 7 or 8. The issue for the listener is the concentration required when the first movement has already stretched to 16 minutes.

Anyway, after half a dozen auditions the whole thing makes far more sense to me than it did first or second time around.

[jerfilm]

Ah, the first copies have shown up in the colonies.   Thanx so much, Alan.  What do we owe you for postage and such??

First impression:  very nice.   Another real unsung find.

Jerry

[Alan Howe]

The postage costs were included in the deal. You don't owe us anything.

[Sharkkb8]

My copy has just made it across both ponds, and so I will settle in tonight, pour a finger or so of cognac, and become immersed in what I'm sure will be a wonderful hour or so.  Thanks to Christopher Fifield & his musicians, Alan, and everyone else along the way who made all this possible!  Let's hope it's only one of many such projects....do we know if Mr. Fifield has any more unsung gems in the planning stages?

[Alan Howe]

Your good health, sir! And happy listening!

[christopherfifield]

I would welcome more opinions about the symphony - it has all gone a bit quiet after some very positive and detailed comments.

I was encouraged by several requests from my players that we should programme the symphony next season and I intend to do so as a result.

If anyone wishes to purchase a cd, I have a few copies left at £20 with a stamped self-addressed envelope from the UK. Overseas requests please send £20 in cash plus an amount to cover postage and a self-addressed envelope. 

[christopherfifield]

In my posting I should have given an email address to receive any request for a cd:  cgfifield@btinternet.com Proceeds from the Cliffe cd will go to the Lambeth Orchestra's running costs.

[kuula]

A courageous and noble effort.  Your players attacked the music with their whole hearts. It is a very difficult score and must be physically exhausting to pull off.  Numerous listenings are necessary as the themes are seriously intertwined and take time to digest.  I do not think it will ever be played often because of the difficulty and length.  It is not "easy" romantic music.  Congratulations to you and your wonderful players!

[Alan Howe]

What is now urgently required is for Chris to go into the studio and record this great work commercially. It's now deeply burned into my musical soul - can't imagine the history of British music without it...