Parry

[Lethevich]

Apparently the Hyperion disc was perhaps the first performance of it for 100 years - a rather shocking state of affairs. It once again reminds me how influential he and Stanford were, as after the piano concertos from those two, all manner of other composers began to produce them - Tovey, Hurlstone, Holbrooke, etc - leading me to imagine it had some influence.

[Klaatu]

Wagner fans tend to find music written by composers leaning towards Brahms boring. However, it is not. From Death to Life is a fine tone poem, and No.5 a highly concentrated, eloquent symphony.

Thomas

Sound67's response to PerfectWagnerite is interesting, because the first Parry work that blew my socks off (and still does) was Blest Pair of Sirens - in Boult's recording.

My immediate impression of this stirring, noble piece was that it reminded me a lot of Wagner's Meistersingers overture!

Last week I heard Parry's The Chivalry of the Sea (BBC SO, conducted by David Lloyd-Jones, on Dutton Vocalion) and was impressed by this as well.

[Klaatu]

And blow me, Blest Pair of Sirens was performed yesterday evening at the Albert Hall as part of the Last Night of the Proms 2010.

While I was very pleased to see this wonderful work given such a well-publicised outing, it's a shame that it was a rather sluggish and lacklustre performance. The glorious closing pages, in particular, failed to catch fire in the way that Boult's recording does.

Something of an opportunity missed, then, but I hope enough of the work's qualities shone through to catch the attention of listeners new to Parry's oeuvre.

[Elgarian]

Apparently the Hyperion disc was perhaps the first performance of it for 100 years - a rather shocking state of affairs. It once again reminds me how influential he and Stanford were, as after the piano concertos from those two, all manner of other composers began to produce them - Tovey, Hurlstone, Holbrooke, etc - leading me to imagine it had some influence.

So today I walk into a secondhand book fair, and what do I see but this very CD, priced at £3:



Needless to say, I handed over my £3 and brought it home. I had to smile on hearing that first theme in the first movement - so typically hearty and generous, and very 'Parry'.

[Lethevich]

That has to be divine intervention - perhaps from St Cecilia

[Albion]

Some of Parry's finest inspiration is to be found in his choral music. He wrote prolifically so it fortunate that some of his best works have been recorded:

The Lotos-Eaters (1892)
Invocation to Music (1895)
The Soul's Ransom (1906) - http://www.chandos.net/details06.asp?CNumber=CHAN%20241-31

Ode on the Nativity (1912) - http://www.amazon.co.uk/gp/product/B000R3BRB6/ref=dm_dp_cdp?ie=UTF8&s=music&qid=1293968623&sr=8-2

The Hyperion recording of the short oratorio Job (1892) is perhaps one for die-hard fans: http://www.hyperion-records.co.uk/al.asp?al=CDA67025

There are a number of other works which certainly deserve professional recordings, chiefly Prometheus Unbound (1880), L'Allegro ed il Penseroso (1890), Te Deum (1900) and The Pied Piper of Hamelin (1905).

[Scion7]

http://www.classical.net/music/comp.lst/acc/parry.php

https://www.bbc.co.uk/music/artists/e58a0544-2b32-47b2-955c-fa51887ec6c7

http://www.telegraph.co.uk/comment/columnists/simonheffer/7882804/BBC-Proms-Theres-so-much-more-to-Hubert-Parry-than-Jerusalem.html



  Chamber Music
============
Nonet, B, flute, oboe, eng horn, 2 clarinets, 2 basoons, 2 horns, 1877
Quintet, E, 2 violins, 2 violas, cello, 1883–4, London, 18 May 1884 rev. 1896, 1902
String Quartet in g, 1867
String Quartet in C, 1868
String Quartet in G, 1878–80, London, 26 Feb 1880, ed. M. Allis (1995)
Trios: Short Trios, F, violin, viola, Piano, 1868
Piano Quartet in Ab, 1882
Piano Trio [no.1], e, 1877, London, 31 Jan 1878 (Leipzig, 1879)
Piano Trio [no.2], b, 1884, London, 25 Nov 1884 (1884)
2 Intermezzi, str trio, 1884, ed. (1950)
Piano Trio [no.3], G, 1889–90, London, 13 Feb 1890, rev. 1893
Violin, Piano: 3 movts, 1863
Allegretto pastorale, G, 1870
6 pieces (Freundschaftslieder), 1872
Sonata for Violin & Piano, d, 1875
Fantasie sonata in 1 movt, b, 1878, London, 30 Jan 1879
Partita, d, London, 2 Dec 1886 (1886) [rev. of Suite de pièces, 1873–7, Cannes, 8 Feb 1877]
Sonata for Violin & Piano, D, 1888–9, London, 14 Feb 1889, rev. 1894
12 Short Pieces, 1894 (1895)
Piece, G, 1896
Romance, F (1896)
Suite, D for violin & piano (1907)
Suite, F (1907)
Cello, Piano: 2 Duettinos, F, G, 1868
Cello Sonata, A, 1879–80, London, 12 Feb 1880 (1883)

  Orchestral Works
===============================
Suite moderne (Suite symphonique), 1886   
   •   Symphony No.3 in C (English)  1895
   •   Symphony No.4 in E-  1910
   •   Symphony No.1 in G 1882
   •   Symphony No.2 in F (Cambridge) 1887
   •   Symphony No.5 in B- (Symphonic Fantasia) 1918, post.
Piano Concerto, g, 1869
Piano Concerto, F
, 1878–80 
   •   An English Suite, for string orchestra   1891? 
   •   Concertstück in G-, for orchestra, 1877
   •   Elegy for Brahms in A-, for orchestra  1897 
   •   From Death to Life, symphonic poem for orchestra  1914
   •   Lady Radnor's Suite in F, for string orchestra  1894
   •   Overture to an Unwritten Tragedy for orchestra in A-   1893
   •   The Procession Of The Queen; March from The Birds
   •   The Birds (Aristophanes)
   •   The Frogs, incidental music
Symphonic Fantasia '1912' (Symphony no.5), b, 1912
Vivien, overture., 1873
Intermezzo religioso, 1867
   •   Symphonic Variations in E, for orchestra  1897
   •   Allegretto scherzando, E
, 1867
Foolish Fantasia (To finish the frolic if it will do), wind band


     Organ
===============================
Grand Fugue with 3 Subjects, G, 1865;
Fantasia and Fugue, G, 1877–1912 (1913);
Chorale Preludes, set 1, 1911–12 (1912);
3 Chorale Fantasias, 1911–14 (1915);
Toccata and Fugue 'The Wanderer', G/e, 1912–18 (1921);
Elegy, A, 1913 (1922) [for funeral of the 14th Earl of Pembroke, 7 April 1913];
Chorale Preludes, set 2, 1915 (1916);
For the Little Organ Book, ed. (1924)

    Piano Music
=============================
Little Piano Piece, variations, 1862
Andante non troppo, B, 1865
4 fugues, 1865: c, E, F, e
Piece, g, 1865
Andante, C, 1867
Sonnets and Songs without Words, 3 sets: i, 1868 (1869), ii, 1867–75 (1875), iii, 1870–77 (1877)
A Little Forget-me-not, B, 1870
7 Charackterbilder (1872)
2 Short Pieces, C, F, ?1873
Variations on an Air by [J.S.] Bach, 1873–5
2 sonatas: [no.1], F (1877), [no.2], A, 1876–7 (1878)
Theme and 19 Variations, d, 1878 (1885)
Cosy (1892)
[10] Shulbrede Tunes, 1911–14 (1914)
Hands Across the Centuries, suite, 1916–18 (1918)
Sleepy, ?1917
5 Miniatures, ed. (1926) [incl. Cosy and Sleepy]

    Incidental Music
====================
The Birds (Aristophanes), Cambridge, 27 Nov 1883 (1885)
Guenever (op, U. Taylor, Ger. trans. by F. Althaus) 1884–6, unperf.
The Frogs (Aristophanes), Oxford, 24 Feb 1892 (Leipzig, 1892); rev., Oxford, 19 Feb 1909
Hypatia (S. Ogilvie), London, Haymarket, 2 Jan 1893; suite, orch, 5 movts, London, 9 March 1893
A Repentance (P.M.T. Craigie), London, St James's, 28 Feb 1899
Agamemnon (Aeschylus), Cambridge, 16 Nov 1900 (1900)
The Clouds (Aristophanes), Oxford, 1 March 1905 (Leipzig, 1905)
Proserpine (ballet, P.B. Shelley), London, Haymarket, 25 June 1912
The Acharnians (Aristophanes), Oxford, 21 Feb 1914 (1914)

. . . and of course, many songs and choral music, including Jerusalem . . .

[Scion7]

"Letter to the editor" of Britain's SPECTATOR upon his demise:

SIR HUBERT PARRY.

(To THE EDITOR OF THE " SPECTATOR."] Ste,—On the merits of the late Sir Hubert Parry as a composer opinions are divided. Modernists regard him as standing too firm on the ancient paths, over-addicted to established forms, deficient in richness, variety, and elasticity of orchestration : in other words, as a learned academic. Less fashionable critics recognize in him a great English composer—in the true line of descent from Purcell—who revived the glories of the golden age of Elizabethan choral music, and enriched his art in almost every branch outside opera by works which, if lacking in sumptuous upholstery or the tricks of the trade, were marked by nobility, strength, sanity, and, on occasion, by exhilarating humour. And they point out that he was guided by an unerring instinct in the choice of words. One of his first works on a large scale was his setting of Shirley's magnificent ode " The Glories of Our. Blood and State," and to the end it was his aim to wed music to immortal verse. Time will decide between these two opinions : but no one who knew him is likely to deny that his death removes a vivid, manly, radiant, and commanding personality. He could hold his own in any company, for he was a wonderful all-round man, interested in everything, from cooking to metaphysics. At Eton, but for the rule for- bidding it, he would have been captain of both football teams. At Oxford he played a great deal of cricket. He was a splendid swimmer, a dashing skater, fearless to recklessness as a motorist and yachtsman, and the only musician of note who was ever elected to the R.Y.S. You might spend a week in the same house with him and never guess the main aim of his life. He read widely and intelligently, kept abreast of all modern movements in art and letters, showed a real talent for finance, and gave the impression that he would have risen to eminence in half-a-dozen other callings. An aristocrat by birth, breeding, and instinct, he was a Radical by education and on principle, and a good deal of the despot, though in the main a wise and benevolent despot, in practice. His own class probably looked upon him as a freak for choosing music as a profession, and it proved a pretty bad busi- ness financially so far as composition went. I remember his telling me somewhere about 1898 that in twenty-five years he had not made £25 by his works; but fortunately he was not dependent on his earnings. He was a learned musician, but no one ever wore his learning more lightly or made less parade of it in con- versation. His familiar talk bristled with slang, and fascinated by its boyish gaiety and absurdity. It is impossible within tho limits of a short letter to do justice to one who touched and adorned life at so many points. But these few jottings may serve to give a faint nailed to those who only knew Hubert Parry as a composer and writer of the rich and manifold endowment which made him so lovable as a friend, so delightful as a companion, so strong and wholesome as a moulder of youth.—I am, Sir, &c.,

C. L. G.

[Scion7]

https://www.youtube.com/watch?v=78vBNjDFU_U

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[vandermolen]

https://www.youtube.com/watch?v=78vBNjDFU_U

[asin]B000027QW7[/asin]

That is a great CD and features the finest interpretation of Parry's masterpiece (IMHO) - the Symphonic Variations.

[Scion7]

Of course, Boult was one of the 'greats' - Bamert is good, but - let's be serious!



^ click image - if you dare

[Scion7]

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The curious about Parry's chamber music can find all of these on YouTube with a little imaginative searching - as in, on the performer, rather than the composer.

[vandermolen]

I have the fourth CD down which is very good and No.5 looks interesting to. I greatly admire the music of John Foulds as well.

[Robert101]

I've been listening to his symphonies on YouTube and love the 5th. Gotta get a recording of that and listen on!

[vandermolen]

I've been listening to his symphonies on YouTube and love the 5th. Gotta get a recording of that and listen on!

No.5 is my favourite too. Do you know the 'Symphonic Variations' - a wonderful work?

[cilgwyn]

I like all his symphonies! The third has always been my favourite,though. I particularly like the old Forlane recording and it would be nice if it could be reissued one day. His chamber music could be interesting. I'll have to look it up on youtube. You never know what's up there. The other night I was listening to a cd-r of one of the 1980's BBC recordings of Gilbert and Sullivan operetta's. They also did the whole lot in the sixties. I thought,"I wonder if someone has posted them on Youtube? Particularly the 1966 broadcast of Ruddigore?!" I looked up "Gilbert and Sullivan Stanford Robinson (the conductor)" and Ruddigore was the first one that came up! Complete and in good mono sound. When I used audacity to record it,the thing kept losing my connection......only a minute from the end,every time!!

[Scion7]

The piano quartet and the 2nd violin sonata I would rate as excellent - if that's where you'd like to start.

The nonet is interesting - shades of Brahms, Liszt, et al, and one of the few of its kind in British (English) music.

[cilgwyn]

I just saw a post on a music forum,that Chandos will be releasing a recording of Parry's Fourth symphony in October in it's original five movement form! This information garnered from a lengthy article on Parry in the June issue of Gramophone,which I haven't seen! Rumon Gamba will be conducting the BBC National Orchestra of Wales.!! I like Parry's symphonies,very much. In fact,I like them all. Unlike allot of other people (it appears) my favourite of the cycle is the third. I've liked it ever since I heard the symphony in the old Forlane recording. I had the Lp box set,with recordings of Brian and Foulds. Very adventurous for it's time. I know some people don't like Parry's symphonies,or only like the Fifth,so just saying!

[vandermolen]

I just saw a post on a music forum,that Chandos will be releasing a recording of Parry's Fourth symphony in October in it's original five movement form! This information garnered from a lengthy article on Parry in the June issue of Gramophone,which I haven't seen! Rumon Gamba will be conducting the BBC National Orchestra of Wales.!! I like Parry's symphonies,very much. In fact,I like them all. Unlike allot of other people (it appears) my favourite of the cycle is the third. I've liked it ever since I heard the symphony in the old Forlane recording. I had the Lp box set,with recordings of Brian and Foulds. Very adventurous for it's time. I know some people don't like Parry's symphonies,or only like the Fifth,so just saying!

Well, that's very interesting news cilgwyn. Thank you for alerting us. Maybe I'm one of the ones you have lined up as only liking the Fifth, although I like No.4 as well. A former colleague things it's Parry's masterpiece. My favourite work by Parry is the Symphonic Variations which I actually prefer to the Enigma Variations, probably as a result of the latter being over-familiar to me.

[cilgwyn]

So you might buy this?!! I'd buy a copy of Gramophone to read the article on Parry,but I could buy a s/h cd for the price of that magazine! It's "original" five movement form? It does sound intriguing? I'm sure Parry knew what he was doing if he excised it;but then you prefer the earlier version of VW's London Symphony (Which one,I don't know? I find the different versions very confusing?!! ) There's the Hickox "one off",the Dan Godfrey and a Goossen's recording,I believe,that I've never heard!! My head's spinning!! There's also, Langgaard's Fifth in it's earlier form! Composer's aren't always right,it seems! And I'm never quite happy with anything I do!!  Yes,I like all the Parry symphonies. I remember in the original notes,with the Forlane recording of Parry's Third,Bernard Benoliel referred to Parry's Second Symphony,dismissively, as being (I can't recall his exact words) as being rather academic and dull. In his notes with Chandos' premiere recording he seemed to have,with minor reservations,revised his opinion. After actually having heard it being played,I thought! (I like it,myself! )
Anyway,you know more about this sort of thing than me !