Robert Plane, Bournemouth Symphony Orchestra, David Lloyd-Jones - Stanford: Symphonies Volume 1-4 (2007-2008)
BAND/ARTIST: Robert Plane, Bournemouth Symphony Orchestra, David Lloyd-Jones
- Title: Stanford: Symphonies Volume 1-4
- Year Of Release: 2007-2008
- Label: Naxos
- Genre: Classical
- Quality: flac lossless / flac 24bits - 44.1kHz +Booklet
- Total Time: 04:56:14
- Total Size: 1.13 gb / 619 mb
- WebSite: Album Preview
Tracklist
Stanford: Symphonies Volume 1
01. Symphony No. 4 in F Major, Op. 31: I. Allegro vivace e giojoso
02. Symphony No. 4 in F Major, Op. 31: II. Intermezzo: Allegro agitato, ma moderato in tempo
03. Symphony No. 4 in F Major, Op. 31: III. Andante molto moderato
04. Symphony No. 4 in F Major, Op. 31: IV. Finale: Allegro non troppo
05. Symphony No. 7 in D Minor, Op. 124: I. Allegro
06. Symphony No. 7 in D Minor, Op. 124: II. Tempo di minuetto (Allegro molto moderato)
07. Symphony No. 7 in D Minor, Op. 124: III. Variations: Andante
08. Symphony No. 7 in D Minor, Op. 124: IV. Finale: Allegro giusto
Of the British composers to have emerged immediately before Elgar, the most significant were Sir Hubert Parry and Sir Charles Stanford. Central to Stanford’s achievement are the seven symphonies covering the greater part of his career. Although they remain well within the stylistic orbit of Mendelssohn, Schumann and Brahms, these accomplished works are marked by resourceful and often subtle orchestration. Symphony No. 4 is an attractive blend of passages of tragic, wistful beauty and jaunty, folk-like melodies, while Symphony No. 7, the shortest and most classical of the series, is characterized by a Mendelssohnian lightness. This is Volume 1 of the Naxos cycle of the complete Stanford Symphonies.
Stanford: Symphonies Volume 2
01. Symphony No. 2 in D Minor, "Elegiac": I. Allegro appassionato
02. Symphony No. 2 in D Minor, "Elegiac": II. Lento espressivo
03. Symphony No. 2 in D Minor, "Elegiac": III. Scherzo: Allegro con fuoco
04. Symphony No. 2 in D Minor, "Elegiac": IV. Adagio-Allegro
05. Symphony No. 5 in D Major, Op. 56, "L'Allegro ed il Pensieroso": I. Allegro moderato
06. Symphony No. 5 in D Major, Op. 56, "L'Allegro ed il Pensieroso": II. Allegretto grazioso
07. Symphony No. 5 in D Major, Op. 56, "L'Allegro ed il Pensieroso": III. Andante molto tranquillo
08. Symphony No. 5 in D Major, Op. 56, "L'Allegro ed il Pensieroso": IV. Allegro molto
Of the British composers to have emerged immediately before Elgar, the most significant were Sir Hubert Parry and Sir Charles Villiers Stanford. Central to Stanford’s achievement are the seven symphonies covering the greater part of his career. Although they remain well within the stylistic orbit of Mendelssohn, Schumann and Brahms, these accomplished works are marked by resourceful and often subtle orchestration. Symphony No. 2, ‘Elegiac’, completed in 1880, seems to have no overt elegiac intent, although it is prefaced by a quotation from Tennyson’s In Memoriam. Symphony No. 5 was inspired by Milton’s poems L’Allegro and Il Penseroso, lines from which are included in the score, and reprinted in the booklet accompanying this recording.
Stanford: Symphonies Volume 3
01. Symphony No. 6 in E-Flat Major, Op. 94, "In Memoriam G.F. Watts": I. Allegro con brio
02. Symphony No. 6 in E-Flat Major, Op. 94, "In Memoriam G.F. Watts": II. Adagio e molto espressivo
03. Symphony No. 6 in E-Flat Major, Op. 94, "In Memoriam G.F. Watts": III. Scherzo and Trio: Presto
04. Symphony No. 6 in E-Flat Major, Op. 94, "In Memoriam G.F. Watts": IV. Moderato e maestoso
05. Symphony No. 3 in F Minor, Op. 28, "Irish": I. Allegro moderato
06. Symphony No. 3 in F Minor, Op. 28, "Irish": II. Allegro molto vivace
07. Symphony No. 3 in F Minor, Op. 28, "Irish": III. Andante con moto
08. Symphony No. 3 in F Minor, Op. 28, "Irish": IV. Finale: Allegro moderato con fuoco
Completed in 1887, Stanford’s ‘Irish’ Symphony enjoyed immediate and widespread success, continuing to be played well into the twentieth century. The ‘Irish’ subtitle indicates its frequent deployment of folk-tunes as melodic material, although the work never strays far from the Austro-German symphonic tradition. The 1905 Sixth Symphony, by contrast, received only two hearings before succumbing to an eighty-year oblivion. The subtitle, ‘In honour of the life-work of a great artist: George Frederick Watts’, is important: Watts (1817-1904) was among the most lauded British artists of his era and Stanford’s work, if not overtly programmatic, was influenced by instances of Watt’s legacy – for example the equestrian statue in Kensington Gardens, London.
Stanford: Symphonies Volume 4
01. Symphony No. 4 in F Major, Op. 31: I. Allegro vivace e giojoso
02. Symphony No. 4 in F Major, Op. 31: II. Intermezzo: Allegro agitato, ma moderato in tempo
03. Symphony No. 4 in F Major, Op. 31: III. Andante molto moderato
04. Symphony No. 4 in F Major, Op. 31: IV. Finale: Allegro non troppo
05. Symphony No. 7 in D Minor, Op. 124: I. Allegro
06. Symphony No. 7 in D Minor, Op. 124: II. Tempo di minuetto (Allegro molto moderato)
07. Symphony No. 7 in D Minor, Op. 124: III. Variations: Andante
08. Symphony No. 7 in D Minor, Op. 124: IV. Finale: Allegro giusto
This final volume of the Naxos cycle of the complete Stanford Symphonies features the substantial First Symphony, whose first movement, with its spacious introduction and exposition repeat, is a remarkably broad structure and, at something a little over 18 minutes, must surely be the longest instrumental movement ever written by a British composer until the opening movement of Elgar’s First Symphony some thirty years later. The use of stopped horns is most unusual for a symphony written in the late 1870s. Stanford’s tuneful late romantic Clarinet Concerto has become the most frequently heard and recorded of the composer’s orchestral works.
Stanford: Symphonies Volume 1
01. Symphony No. 4 in F Major, Op. 31: I. Allegro vivace e giojoso
02. Symphony No. 4 in F Major, Op. 31: II. Intermezzo: Allegro agitato, ma moderato in tempo
03. Symphony No. 4 in F Major, Op. 31: III. Andante molto moderato
04. Symphony No. 4 in F Major, Op. 31: IV. Finale: Allegro non troppo
05. Symphony No. 7 in D Minor, Op. 124: I. Allegro
06. Symphony No. 7 in D Minor, Op. 124: II. Tempo di minuetto (Allegro molto moderato)
07. Symphony No. 7 in D Minor, Op. 124: III. Variations: Andante
08. Symphony No. 7 in D Minor, Op. 124: IV. Finale: Allegro giusto
Of the British composers to have emerged immediately before Elgar, the most significant were Sir Hubert Parry and Sir Charles Stanford. Central to Stanford’s achievement are the seven symphonies covering the greater part of his career. Although they remain well within the stylistic orbit of Mendelssohn, Schumann and Brahms, these accomplished works are marked by resourceful and often subtle orchestration. Symphony No. 4 is an attractive blend of passages of tragic, wistful beauty and jaunty, folk-like melodies, while Symphony No. 7, the shortest and most classical of the series, is characterized by a Mendelssohnian lightness. This is Volume 1 of the Naxos cycle of the complete Stanford Symphonies.
Stanford: Symphonies Volume 2
01. Symphony No. 2 in D Minor, "Elegiac": I. Allegro appassionato
02. Symphony No. 2 in D Minor, "Elegiac": II. Lento espressivo
03. Symphony No. 2 in D Minor, "Elegiac": III. Scherzo: Allegro con fuoco
04. Symphony No. 2 in D Minor, "Elegiac": IV. Adagio-Allegro
05. Symphony No. 5 in D Major, Op. 56, "L'Allegro ed il Pensieroso": I. Allegro moderato
06. Symphony No. 5 in D Major, Op. 56, "L'Allegro ed il Pensieroso": II. Allegretto grazioso
07. Symphony No. 5 in D Major, Op. 56, "L'Allegro ed il Pensieroso": III. Andante molto tranquillo
08. Symphony No. 5 in D Major, Op. 56, "L'Allegro ed il Pensieroso": IV. Allegro molto
Of the British composers to have emerged immediately before Elgar, the most significant were Sir Hubert Parry and Sir Charles Villiers Stanford. Central to Stanford’s achievement are the seven symphonies covering the greater part of his career. Although they remain well within the stylistic orbit of Mendelssohn, Schumann and Brahms, these accomplished works are marked by resourceful and often subtle orchestration. Symphony No. 2, ‘Elegiac’, completed in 1880, seems to have no overt elegiac intent, although it is prefaced by a quotation from Tennyson’s In Memoriam. Symphony No. 5 was inspired by Milton’s poems L’Allegro and Il Penseroso, lines from which are included in the score, and reprinted in the booklet accompanying this recording.
Stanford: Symphonies Volume 3
01. Symphony No. 6 in E-Flat Major, Op. 94, "In Memoriam G.F. Watts": I. Allegro con brio
02. Symphony No. 6 in E-Flat Major, Op. 94, "In Memoriam G.F. Watts": II. Adagio e molto espressivo
03. Symphony No. 6 in E-Flat Major, Op. 94, "In Memoriam G.F. Watts": III. Scherzo and Trio: Presto
04. Symphony No. 6 in E-Flat Major, Op. 94, "In Memoriam G.F. Watts": IV. Moderato e maestoso
05. Symphony No. 3 in F Minor, Op. 28, "Irish": I. Allegro moderato
06. Symphony No. 3 in F Minor, Op. 28, "Irish": II. Allegro molto vivace
07. Symphony No. 3 in F Minor, Op. 28, "Irish": III. Andante con moto
08. Symphony No. 3 in F Minor, Op. 28, "Irish": IV. Finale: Allegro moderato con fuoco
Completed in 1887, Stanford’s ‘Irish’ Symphony enjoyed immediate and widespread success, continuing to be played well into the twentieth century. The ‘Irish’ subtitle indicates its frequent deployment of folk-tunes as melodic material, although the work never strays far from the Austro-German symphonic tradition. The 1905 Sixth Symphony, by contrast, received only two hearings before succumbing to an eighty-year oblivion. The subtitle, ‘In honour of the life-work of a great artist: George Frederick Watts’, is important: Watts (1817-1904) was among the most lauded British artists of his era and Stanford’s work, if not overtly programmatic, was influenced by instances of Watt’s legacy – for example the equestrian statue in Kensington Gardens, London.
Stanford: Symphonies Volume 4
01. Symphony No. 4 in F Major, Op. 31: I. Allegro vivace e giojoso
02. Symphony No. 4 in F Major, Op. 31: II. Intermezzo: Allegro agitato, ma moderato in tempo
03. Symphony No. 4 in F Major, Op. 31: III. Andante molto moderato
04. Symphony No. 4 in F Major, Op. 31: IV. Finale: Allegro non troppo
05. Symphony No. 7 in D Minor, Op. 124: I. Allegro
06. Symphony No. 7 in D Minor, Op. 124: II. Tempo di minuetto (Allegro molto moderato)
07. Symphony No. 7 in D Minor, Op. 124: III. Variations: Andante
08. Symphony No. 7 in D Minor, Op. 124: IV. Finale: Allegro giusto
This final volume of the Naxos cycle of the complete Stanford Symphonies features the substantial First Symphony, whose first movement, with its spacious introduction and exposition repeat, is a remarkably broad structure and, at something a little over 18 minutes, must surely be the longest instrumental movement ever written by a British composer until the opening movement of Elgar’s First Symphony some thirty years later. The use of stopped horns is most unusual for a symphony written in the late 1870s. Stanford’s tuneful late romantic Clarinet Concerto has become the most frequently heard and recorded of the composer’s orchestral works.
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