I note that Walford Davies' Symphony No. 2 in G (1911) is to be performed at the English Music Festival this year - at Dorchester Abbey on 24th May. The orchestra is the BBC Concert Orchestra under Martin Yates.
A recording must surely be in the offing...
One certainly hopes so. I intend to be at that concert. Lewis Foreman is giving a pre-concert talk about the early MSS of Vaughan Williams and Walford Davies. Should be interesting. Lewis is very keen to get Walford Davies' orchestral music on disk.
This is excellent news! There's so little Walford Davies on record. I loved the Dutton recordings of 'Everyman' and the violin sonata.
A fascinating prospect.
The problem with WD is that most of his orchestral music remains in MS... though, at least, it remains - in the collections of the RCM.
Thanks. Very good news indeed.
Yes, very welcome news. I will be totally honest and admit that I only him through the RAF March past! :-[
By the way, shouldn't this thread be in the section on "New Recordings and Broadcasts"? ::)
Well, the thread started off as a concert announcement. Perhaps we should wait until the CD is officially announced before posting in the other section...?
From The Musical Times, April 1911:
The prospective programmes of the London Symphony Orchestra announce that the first of the season's concerts which Herr Nikisch will conduct on May 15th will include the production of a new symphony by Dr. H. Walford Davies. This is not the composer's first work of the kind, for as long ago as 1895 Manns brought out his first Symphony at the Crystal Palace, and it was one of the earliest works which drew public attention to Walford Davies' compositions. It, however, aroused interest more or less as a promising student's work. Nine years later Everyman made the composer generally known to the larger musical public, and even since Everyman his style and especially his command of the orchestra has matured considerably. Two works since that time have shown him working in the direction of symphonic form: Lift up your hearts, produced at Hereford, 1906, which is actually a symphony with chorus, and the Festal Overture, which is almost a symphony in miniature.
The symphony (Op.32) which Herr Nikisch will conduct is in G major: it has four movements, each one of which is complete in itself and detached, but there is strong thematic connection between the first and last movements. The bold theme of the slow introduction (Largo maestoso) with which the Symphony opens is the most important of the various features which give unity to the work. A progression of three chords (G major, C minor and E minor) is characteristic of the theme, and a stately rhythmic figure founded upon these is given out at once by the strings and horns (f), while drums and basses reiterate the key-note with a persistent tread. The idea is fully dealt with and passed through several phases before it gives way to the Allegro. One smooth, almost ecclesiastical version of it is heard on the strings, another more agitated and plaintive development follows, so that it is quite evident that the greatest importance is attached to it – in fact, that it is one of the principal characters of the drama. The Allegro fervente is brought in by a rushing upward scale-passage which leads to a strong and impulsive subject. The most striking characteristic of the ardent movement which it introduced is the amount of musical material which plays a part in it. The ordinary divisions of first and second subject are scarcely applicable, though the ideas roughly fall into two groups, and one rich and exuberant tune in D major stands out with special prominence. It, like the theme of the introduction, extends its influence into the last movement. The plan of increasing the members of the 'cast', so to speak, of a symphony is one with which composers have been busy in experiment ever since Beethoven. This work offers some remarkable instances of the modifying effect upon the subsequent form of the whole movement which a large number of clearly contrasted ideas must bring. In the first place the part technically known as the exposition takes up an unusually large proportion of the first movement, and this entails considerable compression afterwards. Development and recapitulation are largely carried on at the same time, the themes being amplified and extended as they are passed again in review. The introductory theme takes an impressive place in the development, and its presence always introduced a more contemplative attitude of mind, stilling the energetic impulse of the themes belonging to the first subject-group and contrasting with the frank happiness of those in the second group. It grows stronger and more or less takes possession of the coda.
A slow movement (Lento espressivo) in B flat major opens with a sonorous cadence figure which seems to bear some relationship to the introductory theme of the first movement; it clears away and gives place to a serene melody which is the principal theme of the movement, and which when it is expanded recalls some passages in Everyman such as the Song of Knowledge. The resemblance is probably quite fortuitous, but it is mentioned to suggest the prevailing mood of the slow movement, which has a more strenuous, agitated middle section.
A purely delightful and unfettered Romanze, Allegro felice (D major) takes the place of a Scherzo and is lightly scored for small orchestra (strings, woodwind, horns and harp). One happy tune springs out of another simply and naturally, the form seems to make itself, and the whole atmosphere is as light-hearted and spring-like as anything could possibly be. This mood passes quickly, and the Finale is preluded by a short episode in which the oboe broods over a plaintive melody added above sustained chords played by a quartet of violioncellos. This seems less of an introduction to the Finale than a delay purposely introduced to check the feeling produced by the Romanza. Soon the chief theme of the Finale, a marching tune in G minor, sweeps away the brooding introduction, and from henceforward the course of the Symphony is scarcely clouded at all. As in the first movement so in the Finale there is a great wealth of thematic material, but the tunes here seem less contrasted and more closely related. Indeed the chief second subject, a tune which quite carries one away by its spirit, is so closely connected with the first that it seems like a sublimated major version of it. As the movement nears the end, the ideas become more closely associated. The main introductory theme, the first of the whole Symphony, is heard in direct contradiction to the most merry of the Finale tunes, and in the Coda the various melodies jostle one another much as do those in the Quodlibet of the Festal Overture, and the Symphony ends in a mood of the utmost exhilaration.
I gather, however, that the planned performance conducted by Nikisch came to nothing. What a pity!
Something to look forward to, judging by that report.
Did anyone happen to attend the concert with Walford Davies' Symphony No.2?
Here's some good news from Rob Barnett at MusicWeb:
Walford Davies's forty minute four movement Symphony No.2 in G major rises from silence with a glorious density of texture and refulgence. It is, in the heroically uproarious, whoopingly surging first movement, several shades Elgarian. Indeed it was premiered in the same year as the first performance of Elgar 2 which served to obliterate its reputation – that and the Great War. Never mind: the first movement has real symphonic fibre, grandeur and weight of utterance. The second movement swings sweetly along at allegretto taking on a patina of Binge and Dvorak along the way. Occasionally it reminds me of its contemporary: Elgar 2. It's a very attractive episode. The third movement has a clearer kinship with the first though its tenor is pensive rather than thrawn and once or twice it did meander. However it ended with some masterfully modest poetic writing. The finale turns unequivocally to the essence of the first and picks up a little of the joyous baggage of Brahms 4. Yates and the BBCCO irresistibly kindled a real surging conflagration in the last five minutes.
As with all the works last night Yates and his orchestra brought splendid excitement and lyric tension, swing and bounce to what was played. That's an extraordinary thing given the unfamiliarity of the music...
...It's good news that the concert has been recorded and will be broadcast on BBC Radio 3 sometime in June this year.
http://www.seenandheard-international.com/2013/05/26/english-music-triumphant-in-premiere-and-revival-at-dorchester-on-thames/ (http://www.seenandheard-international.com/2013/05/26/english-music-triumphant-in-premiere-and-revival-at-dorchester-on-thames/)
So: let's keep an eye out for the broadcast!
I had hoped to be at the concert but, very sadly, was prevented by family reasons from attending. I look forward to the BBC broadcast.
...and I was simply too busy to go. Hope all is well, Gareth.
I find it sad that the BBC can't broadcast the whole festival, as it does the Proms. It is the main festival of our national art, but I suppose having a Prime Minister who likes pop can't help.
If he admitted to liking classical music it'd be one more "elitist" stick with which the levellers amongst us would beat him. I must say that I too am very keen to hear this work.
Personally I find 'pop pickers' the most elitist, especially the ones who insist that their 'brand' isn't pop at all but a completely different sub-sub-genre like hip-hop or blues or something. Whereas the last thousand years are dismissed as 'classical' and lumped in with film music. But yes, the culture of Casual has become unassailable. It doesn't mean anyone's nicer, of course: my bank might call me by my Christian name, but they are definitely not my friends, just impolite.
Sorry getting off topic. Though it might be added that the chances of someone of Davies' stature having the same size of audience these days seems slim.
I was lucky enought to attend that concert - all of it (except for Parry's "Jerusalem") unheard music by more or less heard composers. The Walford Davies piece runs about 40 minutes and could best be described as "big-boned". In his pre-concert speech, Lewis Foreman described the composer as one who (unless I misunderstood) was more interested in a good tune than in structural matters. There weren't a great many good tunes in the symphony, to my ears, but it's certainly worth hearing every so often, in its semi-Elgarian way. The performance (Martin Yates and the the BBC Concert Orchestra) was superb. I do hope that Dutton records it - the impression was left at Foreman's presentation that it all came down to money . . .
It always does come down to money, but then why not record the live performance? That would be cheaper than hiring an orchestra and a recording studio. Or do a deal with the BBC to license their broadcast recording.
Did anyone manage to record this concert?
Jerry
It hasn't been broadcast yet. No sign of it being broadcast in the coming week either.
Great news, Joe: thanks ever so much for letting us all know.
May I put in a plea for someone to record this broadcast? I am free on 26th, but I have to be travelling all day Monday 24th :'(
If nothing else, Albion sez he's going to record and put it up on the ArtMusic Forum.
Jerry
I plan to record it.
Brilliant. Thanks, Mark.
Warmly seconded.
Sometimes, I really love you guys!!! :-*
Only sometimes? :-[
Henry Walford DAVIES (1869-1942)
Symphony No.2 in G major Op.32 (1911)
I. Largo Maestoso - Allegro Energico - Lento Maestoso
II. "Romanza": Allegretto Felice sempre teneramente ed espressivo
III. Lento espressivo
IV. Lento Mistico - Allegro Vivace
BBC Concert Orchestra conducted by Martin Yates
Live recording of a concert at Dorchester Abbey on 24 May 2013. Broadcast by BBC Radio 3 on 24 June 2013.
Four mp3s and a text file in one zip file here: www.mediafire.com/download/ysbwgco4957kp5i/Symphony_No.2.zip (http://www.mediafire.com/download/ysbwgco4957kp5i/Symphony_No.2.zip)
Note 1: the accompanying text file lists the middle movements in reverse order. The order shown here corresponds with the order in which they are played.
Note 2: the details of the movements have now been modified as per the helpful post by musiclover in the Composers and Music board.
Alan Howe 29/06/13
A recording of this afternoon's broadcast of Walford Davies' Second Symphony is now available in the Downloads board. If anybody knows the tempo indication of the Finale then I'd appreciate it being shared.
I can't say that at first hearing the music itself struck me as having much individuality, and the melodic material seemed undistinguished, but there are some fine moments and Davies certainly makes a grand sound. Maybe it's one of those works which grows on you. I do hope so.
Yes, I agree. On first hearing it sounds like thoroughly enjoyable second-tier stuff - but definitely not second-rate, if you see what I mean. It strikes me as being rather Elgarian in general tenor, but it is absolutely wonderful to have another of the British symphonies written in the shadow of Elgar publicly performed.
Special thanks too to Mark for recording the broadcast, tracking the recording and uploading it so promptly here. Great stuff.
Now for the Dutton recording...
By the way, although no doubt the balance is in some measure to blame on the radio broadcast, the strings of the BBC Concert Orchestra are at times sorely pressed, mostly because they are lacking in the proper weight of sonority for this sort of music - an observation I have often made when they are recorded in late-romantic repertoire. I assume Dutton will use the same orchestra if/when they record the piece, but I can't help hoping that they choose the RNSO instead.
Are we reasonably sure that there will be a Dutton recording (subject, of course, to a final decision by Dutton)? Everyone seems to be talking with complete assurance, but what is it that justifies this conviction?
A number of posts ago Gareth suggested that if financial considerations make a recording impossible, then why on earth can't Dutton come to some arrangement with the BBC and release the broadcast as a commercial recording? That would make absolutely splendid sense....but maybe I'm being far too naive here.
Quote from: petershott@btinternet.com on Monday 24 June 2013, 20:45
Are we reasonably sure that there will be a Dutton recording...?
That's why I said "if/when". The short answer is, I've no idea.
My information is that Martin Yeats is not completely sold on the piece. Nothing decided yet. Maybe positive reviews (if any) will help. Money is always an issue. Dutton is doing a Braunfels disc though!
It was nice to hear a "new"British symphony in the Romantic tradition. It sounded to me like a cross between Vaughan Williams and Walton with a drop of Elgar thrown in. So far, I prefer the finale to the other movements but, thanks to you Mark, I shall be able now to hear it again and make further assessments of it.
A Braunfels disc from Dutton? That - at least to me - is an enormously exciting prospect. Can you perhaps tell us a little more, Tapiola? Perhaps in a new thread so that the present one doesn't wander off the straight and narrow.
Thank you Mark. Very delightful. Have not heard it all but what I've heard so far, I like. Not a masterpiece, probably, but a lovely piece of unsung music.
Jerry
Mark, do you have a tempo indication for the finale of the Walford Davies?
Mark's already said he hasn't, Jim ::)
You do know about BBC iPlayer, don't you?
Quote from: Delicious Manager on Wednesday 26 June 2013, 15:53
You do know about BBC iPlayer, don't you?
Does it tell us what we want to know?
Funny someone saying that Yates isn't entirely sold on the idea of recording the Walford Davies. When I congratulated him at Dorchester and mentioned that he should (in my opinion) consider recording the Symphony he gave me the impression that he had decided to do it. He did a massive amount of work getting the piece into a performable state it would be a terrible waste if he didn't. Maybe we should send Dutton emails showing our support for such a venture. I listened to the performance on Radio 3 the other day. I enjoyed it. Not top drawer, but certainly worth hearing a few times to proper evaluate it as it certainly isn't second rate. Well, in my opinion anyway.
I think that's right, Mark.
Yes, clearly it is. I prepared the description before I had heard the music! Apologies for not checking that. A cautionary tale. I have amended the description in my post in the Downloads board accordingly.
I'm a little (not very, but a little) surprised to see Romance: Allegro felice rather than Romance: Lento espressivo. But then, the telling of a tale needn't be somnolent... :)
Sorry Eric, for the movements I simply copied what was written by the author of the review (which Alan posted here (http://www.unsungcomposers.com/forum/index.php/topic,4196.msg45676.html#msg45676)) of the Symphony's performance, published in the Musical Times in 1911:
QuoteA purely delightful and unfettered Romanze, Allegro felice (D major) takes the place of a Scherzo
The actual tempi indications in the score could be totally different, but that's all I had to go on.
I don't find it incredible or even unprecedented, just unusual. Thanks!
I have listened with great interest to this symphony, and shall do so again. It's no forgotten masterpiece - but it is very prettily orchestrated and nicely constructed. The style is superficially Elgarian - no doubt of that; a pity the melodic material is not more immediately memorable. However, these are only first impressions, and there is much to like about the piece, even on first hearing. The first movt. seems - and I stress seems - to be the weakest; yet I suspect it is the one which will repay further listening the most. We shall see. I am extremely glad that it was performed and that, through Mark's good offices, I now have the opportunity to listen to it more than once.
Some of you are talking about the movements of the symphony and I wanted to share with you the info that Martin Yates kindly sent to me after I emailed him via his management.
Movement 1: Largo Maestoso - Allegro Energico - Lento Maestoso
Movement 2: "Romanza": Allegretto Felice sempre teneramente ed espressivo
Movement 3: Lento espressivo
Movement 4: Lento Mistico - Allegro Vivace
Regarding the order of the movements this is Martin's comment:
" in preparing the performing edition I was working from the original mss and at some time prior to that first performance, probably at the same time as he was making the heavy cuts that I restored, Walford Davies wrote across the top of the Romanza "this movement second" and across the top of the Lento espressivo "this movement to be third". I can only presume that this was done at the same time as he made the cuts because the ink is the same as all the cuts and appears to be in the same condition of preservation as the cuts, not in the same state as the actual music written on the staves. I decided to play the movements in the revised order because I think it makes more sense, with the Romanza lightening the sound picture after a very tough first movement and with the Lento espressivo going almost as one movement into the Lento Mistico of the finale. You could say that in doing that I should have also kept the cuts. However, I just do not believe Walford Davies really wanted these cuts. His whole approach to this symphony is one of total control over his material and by taking out parts of the exposition and also various moments of high climax he seems to have undermined this. Could it have been a simple matter of him being practical with these cuts after having been told the symphony was too long to be scheduled with such little rehearsal time? He had after all had it taken out of a previously announced programme."
Anyway I am grateful to Martin for giving me this information, as well as for rescuing the symphony too of course!
Thank you very much for the movements' information. That's really helpful.
Yes, very many thanks. I have duly modified the details in the Downloads board.
Agreed, thanks!
Is date of composition known (also 1911, or somewhat earlier?...) :)
I've been away from UC for a couple of days, but grateful thanks nonetheless to musiclover for the Davies Symphony update. Very interesting. Thanks also, Alan, for amending my post in the Downloads board.
This is Davies' symphony 2- may have been asked before but any idea if the symphony in D of (1894? 1895?) exists still?
Walford Davies' MSS are at the RCM, Eric. I think the list of what they hold is available online. You could check their website. If not, their chief librarian is very helpful and would be able to provide information on the earlier symphony, if they have it.
Eric, the list of Walford Davies manuscripts held by the RCM is here (http://www.legacyweb.rcm.ac.uk/cache/fl0024588.pdf). You'll see that it includes the Symphony in D.
Ah, thank you.
:) This is a wonderful find. I hope we hear more of this composer, especially any further symphonies he may have composed. Thank you so much for uploading this!
I've just been revisiting Walford Davies' 2nd Symphony, finding it a much more interesting work than the last time I listened. Its besetting problem is its lack of really memorable melodic material, but its idiom (definitely Elgar, but with a certain element of whimsy in the mix) is very attractive and the handling of the orchestra masterly. It's a shame no recording has (yet) emerged, but the (excellent) recording of the radio broadcast is a thoroughly commendable stop-gap. Do give it another listen...
Yeah, I've been very fond of it for a while. I would like to hear more of Davies' work. I really like "Everyman" too, which is available on Dutton.
His Elgarian Solemn Melody appears on the Marco Polo CD, Welsh Classical Favourites, but it is very short!
Alan, I re listened to the Symphony yesterday. It is a work that has grown on me since that EMF performance, which was blisteringly good I thought. I agree with you; it is worth recording isn't it?
Maybe we should bombard Dutton with emails, suggesting a complete Walford Davies programme....maybe the early Symphony or the piece for Piano and Orchestra, conversation I think it's called. I particularly love the first and last movements of the 2nd Symphony.