sir Malcolm Arnold

[Roasted Swan]

Any other thoughts on this bio? I'm very curious to read it.

I have a copy but have not yet started it - Rob Barnett wrote a review on MusicWeb
http://www.musicweb-international.com/Classrev/2022/Aug/Arnold-inside-book.htm

[aligreto]

For archive purposes: Symphonies 1 & 2 [Penny] Naxos:






Symphony No. 1: 

On first listen I found this to be an interesting work. I like its tones, its moods, atmospheres and its musical language. The first movement was very engaging throughout and I particularly like the scoring for brass and the lower register instruments.
The slow movement opens very calmly and serenely. However, discordant elements from the first movement soon invade this peaceful space to create interesting contrasts and sensations. It makes for a very interesting, appealing and atmospheric work.
The opening of the final movement is fraught and filled with tension. These levels are augmented as the movement proceeds and the woodwinds make a very fine contribution. This is very fine, atmospheric and compelling music.
I particularly like the scoring throughout the work. I find it to be very appealing as it portrays wonderful sonorities.


Symphony No. 2:

I am tending to like Arnold's musical language in general. I find it to be both appealing and engaging.
The opening movement is very lyrical and light in tone. There is a sense of inventive orchestration here. There are interesting side bars attached to the main vista which, in itself, is broad and expansive.
The second movement is much more menacing in the atmosphere department. The orchestration, again, plays a big part in the creation of the relevant tone.
The tone of the opening of the slow movement is somewhat stark and bleak; even menacing, in a disconcerting way. There is a wonderful atmosphere prevailing here in this movement.
The final movement is a total and wonderful contrast to the preceding slow movement. It reverts to the  tone and atmosphere of the opening movement. It moves along with great forward momentum and it is well driven. It concludes with a satisfactory and definitive resolution.

[aligreto]

Symphonies 3 & 4 [Penny] Naxos:






Symphony No. 3:

I find the music of the opening movement to be wonderfully inventive. The musical statement, in itself, is relatively straightforward but what makes things really interesting here is the scoring and the delivery of the music in terms of its orchestration. There is also great tension in this music. I find it all to be very engaging. It makes for very interesting and engaging listening. The slow movement is wonderfully atmospheric. The scoring, once again, plays a great part in this. It is the variety of tones and sonorities on display here that I find to be very appealing and interesting. The sum of the individual parts lends to a very engaging whole here. Drama and tension also lend wonderfully to the overall atmosphere in this movement. The final movement is a quirky contrast to the monumental slow movement. I find it to be filled with excitement and the music is wonderfully presented and driven here. The woodwinds are wonderfully playful and effective here in contributing to the overall atmosphere of the movement. The conclusion is particularly fine, emphatic and definitive.


Symphony No. 4:

The very opening bars of the first movement demonstrate the wonderful musical language and orchestrational ability of Arnold. This can be both a tempestuous and, alternatively, serene movement. Whichever mode the music is in Penny interprets it well. Penny brings a wonderful edge to the music. The music sounds expansive in spacious sound.
The music in the second music is beguiling and very engaging. I like the way that it flits about. It has a wonderful atmosphere and Penny treats it very well by letting it flow almost by itself. It has a wonderful, ever so slightly disconcerting tone to it. It moves along well.
The third movement opens in a pastoral vein with that slightly disconcerting cloud floating across the sky. This is an expansive reading. Once again, the orchestration is very attractive and engaging. It certainly helps in building a wonderful sense of atmosphere and the various sonorities are very appealing.
The pace and the tone in the final movement picks up considerably making for a welcome contrast. The music has wonderfully tumultuous passages and Penny drives them well again. The work/movement has a very fine conclusion.

[aligreto]

Symphony No. 4 [Arnold] Lyrita:





It is always interesting to listen to a composer conducting their own work. It is not always a successful enterprise. The sound is very good in the Lyrita recording. The significant difference between the two presentations is that the overall recording time is much more expansive under Arnold, 54 mins. approx vs. 38 mins. approx under Penny [my only other reference for this work].


Arnold's own interpretation of his opening movement here is quite expansive [18:46 mins. vs. 13:04 for Penny] but it never falters or feels ponderous. It is a very lyrical interpretation. Interestingly, I feel that Penny brings more bite to the music than does Arnold, not that Arnold is not menacing in his tone where appropriate.

Arnold' own presentation of the slow movement is a little more expansive [5:40 mins. vs. 5:05 with Penny]. There is, however, very little difference between this and the Penny version with regard to tone and overall atmosphere. The orchestra, if anything, sounds a bit more full here.

Arnold's own presentation of the third movement is very expansive [18:40 mins. vs. 11:38 mins under Penny]. The strings sound more lush here and the overall sound is more full. I personally feel that this movement does drag and could have done with some degree of editing [just my impression after hearing these two versions for the first time] as it begins to sound interminable after a time especially at 18:40 mins. 

The final movement under Arnold seems to be to be much more controlled [directorily] but he does, I must admit, give the music a very good run for its money. Arnold's own conclusion to the movement/work is excellent! The pace does not seem to be overly slow but Arnold's presentation is much longer than Penny's [11:02 mins vs. 7:58 mins. for Penny].

I readily admit that this is my first time hearing this work so I am not sure whether or not the variance in the length of recordings between the two conductors is a case of one observing repeats and the other not; I am not familiar enough with the work to pay much attention to that aspect in my comparison at this point.

[aligreto]

Symphonies 5 & 6 [Penny] Naxos






Symphony No. 5

I really like the opening section of the first movement. I find the orchestration to be wonderfully engaging and inventive. The tone and atmosphere are also very engaging; lyrical but disconcerting without being overly menacing. The music has an edge to it with plenty of drama and tension along the way and Penny presents it very well. It really is such a wonderful piece of music.
The slow movement is a rich and opulent piece of pastoral writing. I find it to be quite evocative. The orchestration and the musical language are both very engaging. Approximately half way through this movement we hit a very menacing passage and the scoring for the brass and woodwinds is particularly wonderful.
The third movement is an animated and inventive, scherzo-like movement that is full of energy and drive. There is also an element of quirky humour in this music alone with more tension and drama for added interest.
The final movement is also an animated affair which has a militaristic element with the presence of a fife led march and blazoning trumpets. It appears that we are being led into battle here. Penny is certainly up for the challenge here and delivers an almost rumbustious presentation of the music. The final section is a wonderful conclusion filled with both glory and serenity.


Symphony No. 6 

What a wonderful opening passage, and indeed movement, to a symphony! Discursive and menacing, it grabs one's attention. As ever with Arnold I am finding that I really like his musical language and orchestration. I find this first movement to be wonderfully taut, tense and exciting.
The slow movement is a contrast in tempo only, for me. There is that same element here, as in the opening movement, of an underlying disconcerting current that is wonderfully atmospheric. There is wonderful tension in this music also but it is not so tightly coiled, rather loosely sprung. This tension is prolonged and it is not released but rather augmented as the movement progresses. This makes for a wonderfully fraught and portentous atmosphere.
The tone and mood changes immediately with the trumpet fanfare in the opening of the final movement. The atmosphere reverts however, as the movement progresses but in a more upbeat tone on occasion. The tension, this time has an outlet when the work concludes with a satisfactory and definitive resolution.

[J.Z. Herrenberg]

Thanks for the ongoing review. I have listened to the first five multiple times already and of them I like nos. 4 and 5 best. The final four are still ahead of me...

[aligreto]

Thanks for the ongoing review. I have listened to the first five multiple times already and of them I like nos. 4 and 5 best. The final four are still ahead of me...

Thank you for taking the time to read the notes. However, as you have listened to those works much more than I have I have no doubt that you could write far better notes than I.

This is, in fact, my first time to listen to the symphonic cycle of Malcolm Arnold. I have come late to this composer. I regret that because I have found his music to be wonderful in every respect. His music has been a revelation for me.

[J.Z. Herrenberg]

Thank you for taking the time to read the notes. However, as you have listened to those works much more than I have I have no doubt that you could write far better notes than I.

Too kind.

This is, in fact, my first time to listen to the symphonic cycle of Malcolm Arnold. I have come late to this composer. I regret that because I have found his music to be wonderful in every respect. His music has been a revelation for me.

I have come just as late to him as you. Fortunately, the more musical experience you have, the easier it is to hear if a composer is any good. Malcolm Arnold certainly is. I still have a lot to explore.

[aligreto]

I have come just as late to him as you. Fortunately, the more musical experience you have, the easier it is to hear if a composer is any good. Malcolm Arnold certainly is. I still have a lot to explore.

Yes, I too look forward to listening to more of his music.
Although I think that Penny is very good I also look forward to exploring other conductors' interpretations and presentations of Arnold's symphonies; just for an alternative interpretation.

[J.Z. Herrenberg]

Yes, I too look forward to listening to more of his music.
Although I think that Penny is very good I also look forward to exploring other conductors' interpretations and presentations of Arnold's symphonies; just for an alternative interpretation.

I prefer Arnold in both the Fourth and the Fifth. The entry of the march in the final movement of the Fourth, for instance, has a biting satirical edge Penny cannot match. It is both hilarious and frightening.

[aligreto]

I prefer Arnold in both the Fourth and the Fifth. The entry of the march in the final movement of the Fourth, for instance, has a biting satirical edge Penny cannot match. It is both hilarious and frightening.

Thank you for your comments. I will see if I can find Arnold in the Fifth for comparative purposes.

[vandermolen]

For archive purposes: Symphonies 1 & 2 [Penny] Naxos:






Symphony No. 1: 

On first listen I found this to be an interesting work. I like its tones, its moods, atmospheres and its musical language. The first movement was very engaging throughout and I particularly like the scoring for brass and the lower register instruments.
The slow movement opens very calmly and serenely. However, discordant elements from the first movement soon invade this peaceful space to create interesting contrasts and sensations. It makes for a very interesting, appealing and atmospheric work.
The opening of the final movement is fraught and filled with tension. These levels are augmented as the movement proceeds and the woodwinds make a very fine contribution. This is very fine, atmospheric and compelling music.
I particularly like the scoring throughout the work. I find it to be very appealing as it portrays wonderful sonorities.


Symphony No. 2:

I am tending to like Arnold's musical language in general. I find it to be both appealing and engaging.
The opening movement is very lyrical and light in tone. There is a sense of inventive orchestration here. There are interesting side bars attached to the main vista which, in itself, is broad and expansive.
The second movement is much more menacing in the atmosphere department. The orchestration, again, plays a big part in the creation of the relevant tone.
The tone of the opening of the slow movement is somewhat stark and bleak; even menacing, in a disconcerting way. There is a wonderful atmosphere prevailing here in this movement.
The final movement is a total and wonderful contrast to the preceding slow movement. It reverts to the  tone and atmosphere of the opening movement. It moves along with great forward momentum and it is well driven. It concludes with a satisfactory and definitive resolution.

Interesting review Fergus. If you don't already know it, you should hear Arnold's own recording of the 1st Symphony which is much slower than any other version I know and thereby invested with much more gravity - a terrific recording which is by far my favourite.

[vandermolen]

Symphonies 5 & 6 [Penny] Naxos






Symphony No. 5

I really like the opening section of the first movement. I find the orchestration to be wonderfully engaging and inventive. The tone and atmosphere are also very engaging; lyrical but disconcerting without being overly menacing. The music has an edge to it with plenty of drama and tension along the way and Penny presents it very well. It really is such a wonderful piece of music.
The slow movement is a rich and opulent piece of pastoral writing. I find it to be quite evocative. The orchestration and the musical language are both very engaging. Approximately half way through this movement we hit a very menacing passage and the scoring for the brass and woodwinds is particularly wonderful.
The third movement is an animated and inventive, scherzo-like movement that is full of energy and drive. There is also an element of quirky humour in this music alone with more tension and drama for added interest.
The final movement is also an animated affair which has a militaristic element with the presence of a fife led march and blazoning trumpets. It appears that we are being led into battle here. Penny is certainly up for the challenge here and delivers an almost rumbustious presentation of the music. The final section is a wonderful conclusion filled with both glory and serenity.


Symphony No. 6 

What a wonderful opening passage, and indeed movement, to a symphony! Discursive and menacing, it grabs one's attention. As ever with Arnold I am finding that I really like his musical language and orchestration. I find this first movement to be wonderfully taut, tense and exciting.
The slow movement is a contrast in tempo only, for me. There is that same element here, as in the opening movement, of an underlying disconcerting current that is wonderfully atmospheric. There is wonderful tension in this music also but it is not so tightly coiled, rather loosely sprung. This tension is prolonged and it is not released but rather augmented as the movement progresses. This makes for a wonderfully fraught and portentous atmosphere.
The tone and mood changes immediately with the trumpet fanfare in the opening of the final movement. The atmosphere reverts however, as the movement progresses but in a more upbeat tone on occasion. The tension, this time has an outlet when the work concludes with a satisfactory and definitive resolution.

The two greatest Arnold symphonies IMO.

[aligreto]

Interesting review Fergus. If you don't already know it, you should hear Arnold's own recording of the 1st Symphony which is much slower than any other version I know and thereby invested with much more gravity - a terrific recording which is by far my favourite.

Thank you very much for that Jeffrey. Much appreciated.

[aligreto]

Arnold: Symphonies Nos. 7 & 8 [Penny]






Symphony No. 7

I really like the opening of this symphony. I find the musical language to be captivating. I also like the tension in the opening movement. The movement is also filled with drama and a great atmosphere with some very enchanting passages therein. I have nothing to compare it with at the moment but it feels to me that Penny gets things just right here. Future comparisons will tell. Anyway, it is a movement of fine atmospheric and tonal contrasts. It has a slightly but wonderful menacing undercurrent to it. The conclusion of the movement is wonderfully charged.
The central, slow movement is a wonderful contrast to the opening movement in terms of tempo. However, the wonderful atmosphere of those more enchanting and bewitching passages in the opening movement is maintained and indeed further developed here. This is certainly a very interesting soundscape.
With the final movement the tension returns to the work which is delivered very well by all sections of the orchestra in turn. Once again, the range of sonorities to be heard in the scoring is quite engaging and appealing. We do get quite a definitive resolution to the work at the conclusion of the movement.


Symphony No. 8

I really liked this work from the opening bars of the first movement. It is exciting, atmospheric and compelling music. The work also has its fair share of both tension and drama. The main attractions for me in this work are both the musical language and the orchestration employed in order to deliver the musical language. It can be dissonant but that lends an edge to the music. The orchestration can also be lean and sparse but that, for me, lends to a sense of excitement, sonic contrast, intensity and drama.
The slow movement is a thing of particular beauty in its own way. The scoring is sparse but very interesting, atmospheric and engaging. Both the tone and atmosphere are quite restrained and underplayed in this movement and yet it makes for compelling listening. The intensity level of the music is augmented towards the conclusion of the movement which is an interesting spike.
The tone and atmosphere of the final movement is quite a contrast to what has preceded it. It is jaunty, animated, intense and intriguing. The orchestration, once again, is wonderfully engaging. The movement concludes with a flurry of excitement. 

[aligreto]

Arnold: Symphony No. 9 [Penny]





The music of the opening music is a wonderful mix of lyricism and atonality [not that both are mutually exclusive]. The tone is light and airy and it sounds a bit quirky and mischievous to me. It is graceful and nimble and this is, by and large, achieved by the relatively sparse scoring for different couplings of instruments. I find it to be very engaging. The intensity and dramatic levels rise as the movement progresses towards its conclusion and the movement finishes on a rather positive, even bold tone.

The opening of the second movement is wonderfully scored for wistful woodwinds. This atmosphere of wistful sentiment is carried through into the body of the movement and, once again, the quality of the scoring for various combinations of groups of instruments is of the highest order.

The third movement is a total contrast to what has gone before in terms of tone and atmosphere. It is an animated celebratory movement with great forward momentum and it is well driven by Penny. Appropriately, the clarion call is led, for the most part, by the brass section with wonderful support and comment from the woodwind section.

The final movement is a massive one and almost just as long as the three preceding ones added together. The opening tone is very dark, bleak and almost one of despair. It is filled with anguish and desolation but it is also hugely atmospheric. It is both haunting and intense but lyrical and the music also has a majestic quality to it. It is expansive and the orchestration is, once again, very effective and engaging and it never feels ponderous to me for such profound music. I also feel that it has a very calm profile. However, all of the darkness and despair is negated in the dying bars with one note that rings out hope and optimism for me despite Arnold asserting that the movement, even with the ending, was meant to be a complete surrender to despair.


This particular recording was made in the presence of the composer. There is also a rather insightful interview with Arnold [by Penny] at the conclusion of the CD with regard to Arnold's Symphony No. 9.


This symphonic cycle by Arnold has been a significant "find" for me.

[aligreto]

Just as an afterthought, I have posted the individual CDs in this series above but it should also be noted that Naxos have also gathered these together in a box set for those who may be interested.






There is also this centenary edition which also contains all of the Dances:

[Maestro267]

The Arnold 9th is one of the most powerful symphonic statements in the British repertoire. The composer indicated that were it not for that concluding chord, the surrender to despair would be total.

[Irons]

Arnold: Symphony No. 9 [Penny]





The music of the opening music is a wonderful mix of lyricism and atonality [not that both are mutually exclusive]. The tone is light and airy and it sounds a bit quirky and mischievous to me. It is graceful and nimble and this is, by and large, achieved by the relatively sparse scoring for different couplings of instruments. I find it to be very engaging. The intensity and dramatic levels rise as the movement progresses towards its conclusion and the movement finishes on a rather positive, even bold tone.

The opening of the second movement is wonderfully scored for wistful woodwinds. This atmosphere of wistful sentiment is carried through into the body of the movement and, once again, the quality of the scoring for various combinations of groups of instruments is of the highest order.

The third movement is a total contrast to what has gone before in terms of tone and atmosphere. It is an animated celebratory movement with great forward momentum and it is well driven by Penny. Appropriately, the clarion call is led, for the most part, by the brass section with wonderful support and comment from the woodwind section.

The final movement is a massive one and almost just as long as the three preceding ones added together. The opening tone is very dark, bleak and almost one of despair. It is filled with anguish and desolation but it is also hugely atmospheric. It is both haunting and intense but lyrical and the music also has a majestic quality to it. It is expansive and the orchestration is, once again, very effective and engaging and it never feels ponderous to me for such profound music. I also feel that it has a very calm profile. However, all of the darkness and despair is negated in the dying bars with one note that rings out hope and optimism for me despite Arnold asserting that the movement, even with the ending, was meant to be a complete surrender to despair.


This particular recording was made in the presence of the composer. There is also a rather insightful interview with Arnold [by Penny] at the conclusion of the CD with regard to Arnold's Symphony No. 9.


This symphonic cycle by Arnold has been a significant "find" for me.

Thanks, Fergus. I am not ready, I think, for the box set but like the sound of your description of the 9th.

[aligreto]

Thanks, Fergus. I am not ready, I think, for the box set but like the sound of your description of the 9th.

It is a wonderful work, Lol, in Arnold's mature voice. I hope that you do not find the last movement too desolate or depressing. There is nothing else quite like it in his other symphonies. In his own words he would have liked it to have been his last word on a difficult Life that he had lived.