EJ Moeran

[J.Z. Herrenberg]

I listened to the Symphony again, Boult's performance. What a moving work! Those moments where the 'veil is lifted', so to speak, and you can hear utter loneliness. Deeply touching.

[vandermolen]

I listened to the Symphony again, Boult's performance. What a moving work! Those moments where the 'veil is lifted', so to speak, and you can hear utter loneliness. Deeply touching.

Totally agree Johan and also about the new Naxos. Boult gets the 'Tapiola-like' section in the finale just right in a more integrated performance than any other. I also have a soft spot for the Dilkes and the fine old Leslie Heward version, recently reissued on Dutton. I especially like the end of the second movement of the Symphony, which is very moving.
[asin]B005RALSP4[/asin]

[J.Z. Herrenberg]

My three favourite moments of the symphony are 1) the lyrical passage just before the close of the first movement (with that high horn), 2) the string passage just after the opening of the final movement and 3) the passionate descending sigh of the strings just before the coda.

[vandermolen]

My three favourite moments of the symphony are 1) the lyrical passage just before the close of the first movement (with that high horn), 2) the string passage just after the opening of the final movement and 3) the passionate descending sigh of the strings just before the coda.

Yes, that lyrical passage is very good indeed.

[calyptorhynchus]

I've just been through the works of Moeran listening chronologically and I maintain my very high regard for all his works. The most notable thing I noticed going through this time was how good the Cello Concerto was, I'm now thinking that this is his masterpiece jointly with the Symphony in G minor.

Particularly the first movement is very profound; it is at a moderate tempo but the listener can't quite decide whether it is allegro moderato or Andante (as sometimes in Sibelius). The themes and their treatment are likewise Sibelian stoical, so that themes that appear initially neutral can seem either rhapsodic and lyrical, or elegiac, or even threatening when they appear again without much actual change to them. The ending is bleak with a shiver of musical sleet out of Elgar's Second Symphony... and then the real slow movement begins.

Magical stuff.

[Mirror Image]

I've recently been getting back into Moeran, which resulted in quite a little CDCDCD splurge, and right now I'm revisiting his Violin Concerto (Little/A. Davis). Really beautiful music. In some respects, it reminds of a cross between Delius (in the slower passagework) and RVW and even a little Barber in the faster parts (esp. the middle movement). Are these fair comparisons? Anyway, I'm definitely going to be listening to more of his music.

[vandermolen]

I've just been through the works of Moeran listening chronologically and I maintain my very high regard for all his works. The most notable thing I noticed going through this time was how good the Cello Concerto was, I'm now thinking that this is his masterpiece jointly with the Symphony in G minor.

Particularly the first movement is very profound; it is at a moderate tempo but the listener can't quite decide whether it is allegro moderato or Andante (as sometimes in Sibelius). The themes and their treatment are likewise Sibelian stoical, so that themes that appear initially neutral can seem either rhapsodic and lyrical, or elegiac, or even threatening when they appear again without much actual change to them. The ending is bleak with a shiver of musical sleet out of Elgar's Second Symphony... and then the real slow movement begins.

Magical stuff.

Agree about the Cello Concerto - his greatest work alongside the Symphony. I find the climax of the last movement, especially in the Boult/Coetmore performance, to be overwhelming. She was Moeran's wife after all and even though the playing is not perfect it is by far the most heartfelt performance. I think that John is right about the Barber connection too.

[Mirror Image]

Agree about the Cello Concerto - his greatest work alongside the Symphony. I find the climax of the last movement, especially in the Boult/Coetmore performance, to be overwhelming. She was Moeran's wife after all and even though the playing is not perfect it is by far the most heartfelt performance. I think that John is right about the Barber connection too.

Really excited about listening to the Cello Concerto again. I already own the Wallfisch/Handley performance, but I'm going to wait and listen to the Johnston/Falletta performance first once it arrives. I thought I might had been making a bit of a stretch with the slight Barber connection. Good to see I wasn't too far off the mark.

[Rons_talking]

Really excited about listening to the Cello Concerto again. I already own the Wallfisch/Handley performance, but I'm going to wait and listen to the Johnston/Falletta performance first once it arrives. I thought I might had been making a bit of a stretch with the slight Barber connection. Good to see I wasn't too far off the mark.

I just downloaded three of Moeran's albums and I'm in agreement with most everything about the Cello Concerto. Part of it's strength is the fact that many of the most lyrical moments are in its natural tessitura rather than ranging in upper octaves when a statement is to be made. The Adagio is beautiful and progresses in such a natural organic way. No abrupt tempo changes nor are any modulations discontiouous with the phrasing and harmonic development. It affects me the way Barber's Piano Concerto's slow movement does; you fall in love and only want change if it's for the better, and that's precisely what happens (not that the composers use the same diction!). He seems at his best when a bit rhapsodic...not hemmed in by the form (I also like the three rhapsodies I've heard). A nice discovery for me that I owe to you guys!

[Mirror Image]

I just downloaded three of Moeran's albums and I'm in agreement with most everything about the Cello Concerto. Part of it's strength is the fact that many of the most lyrical moments are in its natural tessitura rather than ranging in upper octaves when a statement is to be made. The Adagio is beautiful and progresses in such a natural organic way. No abrupt tempo changes nor are any modulations discontiouous with the phrasing and harmonic development. It affects me the way Barber's Piano Concerto's slow movement does; you fall in love and only want change if it's for the better, and that's precisely what happens (not that the composers use the same diction!). He seems at his best when a bit rhapsodic...not hemmed in by the form (I also like the three rhapsodies I've heard). A nice discovery for me that I owe to you guys!

Great to read this, Rons_talking. You should definitely check out the Violin Concerto with Tasmin Little/Andrew Davis on Chandos. Quite frankly, Little owns this concerto right now. I prefer her performance to the earlier Mordkovitch recording. Happy listening!

[Mirror Image]

My appreciation for the Violin Concerto has just skyrocketed. It's always hard for me to describe how a piece of music makes me feel but I have a strong emotional connection with this work. It's almost as if Moeran was writing directly to me. The last movement Lento had me in tears a few days ago as there seems to be some kind of loss or letting go of something in the music. Tasmin Little's performance is the best I've heard of the three I own. She really does tell a wonderful story here. Andrew Davis is with her every step of the way. As I've said many times, this is a true musical partnership. I really hope people discover this performance.

[Mirror Image]

Re: The Cello Concerto on Naxos with Johnston/Falletta

I have to say I wasn't particularly taken with the performance. It sounded quite nice at first but then I started missing the lushness of the Wallfisch/Handley performance. I don't think Johnston/Falletta are at fault so much but I do think the audio quality isn't as full as could have been and this kind of turned me off to the performance. I also didn't feel that Adagio like I felt in the Wallfisch/Handley. I don't think there was much in the way of a musical narrative either in this Johnston/Falletta recording. Anyway, that's just my two cents. I'm certainly glad I heard it but it doesn't displace the Wallfisch/Handley IMHO.

[Scion7]

The Grove considers Moeran's technique to be superior to all his British contemporaries.  Listening to his music one might be surprised that a man with a severe head injury form WWI can be such a master-craftsman.  In this regard, you might call him the British Brahms.   

[J.Z. Herrenberg]

Who wrote the entry? That's quite a claim. Though I admit, I cannot find fault with Moeran's technique, either.

[Scion7]

Craftsmanship is not everything, though - he won't be replacing his fellow Brits Vaughan Williams or Bowen any time soon.

[J.Z. Herrenberg]

Nope. Agreed.

[vandermolen]

Craftsmanship is not everything, though - he won't be replacing his fellow Brits Vaughan Williams or Bowen any time soon.

Agree about VW but Bowen has been a complete blind-spot for me.

[Mirror Image]

Craftsmanship is not everything, though - he won't be replacing his fellow Brits Vaughan Williams or Bowen any time soon.

Bowen? In my view, he's hardly on the same level as Vaughan Williams. I've heard around four or five Bowen works and I've got to say that I remain rather underwhelmed.

[Scion7]

Vaughan Williams is the superior orchestral works composer,
but Bowen is the superior chamber works composer.

[Klaatu]

Moeran has the distinction of being one of:

"Six Magnificent Classical-Music-Composing Bastards (You've Probably Never Heard Of)"

http://www.mrdankelly.com/blog/?p=1343

Others so honoured include Havergal Brian and Peter Warlock. Who knew that Classical Music could be so badass?