ELGAR: Symphony No. 1 in A-flat Major, Op. 55; Falstaff–Symphonic Study in C Minor, Op. 68 – London Symphony Orchestra/Sir Edward Elgar
Naxos Historical 8.111256, 79:35 [Not distributed in the U.S.] ****:
Producer Mark Obert-Thorn restores Sir Edward Elgar’s 1930 inscription of his own 1908 First Symphony to great effect, the composer’s expression of his “wide experience of human life.” Elgar conceived the music as an amalgam of two of his heroes, General Gordon and conductor Hans Richter, the dedicatee. Written in the period June-September 1908, the work premiered in December under Hans Richter, who called it “the greatest symphony of modern times.” An air of forthright self-confidence permeates the symphony, its occasional thrusts and outbursts, its displays of orchestral virtuosity and velocity often reminiscent of Richard Strauss. Near the end of the first movement, a bucolic strain emerges, the protagonist’s reconciliation with Nature, or perhaps his acceptance of his own destiny
It was HMV producer Fred Gaisberg who induced Elgar to record much of his own output for the electrical inscription process; and Elgar, who had led the London Symphony from 1911-1913, chose that ensemble for its response to his insight and instinctual enthusiasm. The LSO’s ability to adjust to quick, metrically demanding ensemble shines through in the martial, Allegro molto second movement, whose secondary theme conveys a carillon nostalgia, close to the spirit of Dvorak. The Adagio enjoys a serene, misty poise, a kind of Edwardian accord with existence, eliciting a “Brahms” sound in the string and woodwind writing. Color shades of the Strauss Alpine Symphony open the last movement, Lento–Allegro. Elgar’s approach allows to feel the cyclic return of the “noble” motif that has alternated between A-flat and D Minor and touched, like an emotional catalyst, everything in between in subtle variation.
The symphonic suite in six movements, Falstaff (1913), has Elgar in a darkly autobiographical mood, the character of Sir John Falstaff from Shakespeare’s history provides a mask for the composer’s own sense of rejection after a bout with celebrity and good fortune. Recorded in several sessions 11-12 November 1931 and 4 February 1932, the music carries a frothy energy in episodes reminiscent of the Strauss Don Quixote. Prince Hall (later, Henry V) and Falstaff have had their revels, have heard “the chimes at midnight.” Despite the girth of the main character, the scoring can be delicately brilliant, muscularly contrapuntal, quixotically bittersweet, both aristocratic and folksy. The Eastcheap–Gadshill–The Boar’s Head episode offers some varied, imaginative, instrumentation, a kind of scherzo in the manner of Till Eulenspiegel. Prince Hall must shed his boisterous companion and his irresponsible life in order to fulfill his role as King. A touch of regret already informs Falstaff’s march to the festivities at Gloucestershire. Pageantry infiltrated with tragic resolution marks the final scene of Henry V’s renunciation of Falstaff, and Falstaff’s subsequent death. “My best work,” Elgar remarked to Eric Fenby. The fine sonic restoration from Naxos seamlessly places us in the midst of living, musical history.
–Gary Lemco
