Parry

[Elgarian]

I actually prefer them to the Elgar Enigma Variations - but maybe that is because I am over-familiar with the Elgar. They are more concise too - but still moving in an understated kind of way. Boult's Lyrita recording is best I think, but you wont go wrong with the Chandos version.

I agree about Boult's version. (I remember reading somewhere that the last recording Boult made was his own personal choice, and he chose a Parry symphony.) I couldn't cope at all if you took away Elgar's Enigma (which I find inexhaustible, myself), and left me only with Parry's Symphonic Variations; but till it comes to that, I'll defend both against all would-be detractors!

[vandermolen]

I agree about Boult's version. (I remember reading somewhere that the last recording Boult made was his own personal choice, and he chose a Parry symphony.) I couldn't cope at all if you took away Elgar's Enigma (which I find inexhaustible, myself), and left me only with Parry's Symphonic Variations; but till it comes to that, I'll defend both against all would-be detractors!

I am a fan of the Elgar - a great work - but I find that I play the Parry more often. Boult did indeed choose Parry as his last commercial recording.  Symphony No 5, Symphonic Variations, Elegy for Brahms etc (EMI) - a great CD.

[Harry]

I have Parry's Symphonies recorded on Chandos, and I am thoroughly happy with them. The sound is a bit muddled and yes there is a lot of Brahms, but his music makes me listen.

[SonicMan46]

Well, just wanted to join this 'revived' thread on Hubert Parry - just have his Nonet & Piano Concerto, both coupled w/ similar works by Stanford; so will be paying attention to other recommendations - have not heard the symphonies at all! 

[Elgarian]

This thread inspired me to dig out the Chandos disc of the 3rd and 4th symphonies again today, and I thoroughly enjoyed them. They're not the most profound works ever written, but they have some smashing tunes, and they have a very distinct flavour: there are moments when I find myself smiling because 'that could only be Parry'. There's a certain tendency to sweetness at times which on a bad day might feel a bit like going for a walk with a friend who's determined to see only the bright side of things, but on the other hand, it's that side of him that makes me imagine he might be a good chap to have a meal with. He was at  Oxford when Ruskin was there, and was apparently much influenced by his lectures with regard to the moral dimension of art: he was concerned that his music should be a source for good.

Not that this makes the music better or worse - it's just stuff that floats around in the head while I'm listening.

[secondwind]

There certainly are. Among guests at my imaginary artists' dinner, where I'm allowed to invite any composers, painters, and writers from any time, anywhere, Parry is near the top of the list.

If you get the Chandos recording of the second symphony, you also get the Symphonic Variations which, as Vandermolen says, represent Parry in tiptop form.

http://www.amazon.com/Parry-Symphony-Cambridge-Symphonic-Variations/dp/B000000AMY/ref=sr_1_10?ie=UTF8&s=music&qid=1267374279&sr=1-10

Thanks for the recommendation, Vandermolen and Elgarian.  And attaching the link to Amazon.com, Elgarian--what a thoughtful touch!  (Do you get a commission?  Just wondering. . . )  It has been duly ordered, and I await its arrival with bated breath.   

[Elgarian]

(Do you get a commission?  Just wondering. . . )

Ha! I wish. No, it's just that while I know that particular CD can still be easily bought here in the UK, I wasn't sure it would be so in the US, so I checked Amazon.com and saw that there were some secondhand ones on offer. Having discovered that, it seemed sensible to give the link.

If you don't expect too much, and anticipate listening to something rather breezily English, full of good humour, with a tendency to sweetened romanticism (particularly in the slow movement which, being an old softy, I love), then I think you should enjoy the second symphony. There's a nice programme associated with it (though I seem to recall it was attached to it after its composition, and maybe not even by Parry), whereby the symphony is supposed to 'describe' the passage of a young man through university.

As Vandermolen says, the Symphonic Variations can stand on their own merits, without any cautionary warnings. Fine stuff.

[secondwind]

Well, thanks.  Amazon says my CD is on the way!  I could be in the mood for some sweetened romanticism about now--I always did have a sweet tooth, after all!

[secondwind]

The Parry cd arrived today and I had my first listen.  I liked the symphony a lot, and, yes, I thought it sounded very English (whatever that means, but it does mean something).  The symphonic variations were terrific.  And why is it that I have never seen Parry on a concert program?  I was interested to read in the program notes that this piece was greatly admired by Tovey, among others, as I am about to begin rehearsing Tovey's trio for clarinet, horn, and piano.  Perhaps listening to Parry will ease me into the correct idiom. . . 

[Elgarian]

And why is it that I have never seen Parry on a concert program?

A very good question.

Judging from your reaction to the second symphony and the Variations, I'm certain that you'd have a warm response to the 3rd and 4th symphonies, should you decide to delve further at some point:

http://www.amazon.com/Parry-Symphony-Nos-3-4/dp/B000000ALR/ref=sr_1_3?ie=UTF8&s=music&qid=1267865901&sr=1-3

[secondwind]

Love those used cd listings!  I know, just like my father always said, people like me are bad for the economy.  But good for my own economy.  Maybe next paycheck. . .

[stevenski]

I am confused re this discussion on Parry. I find his slow movements sometimes disturbingly gloomy(especially that of Symphony 4; in fact the whole symphony is tragic-sounding, with one of the most moving tunes that i have ever heard that suddenly appears in the middle of the last movement. ok, this particular symphony is sometimes a bit a strenuous, in the way that Brahms' orchestral writing can be, but it is dark, memorable and deep).
To me, this Symphony(no4), the Symphonic Variations, "from Death to Life", with its stunning tune, opening the "life" section; and the sheer joy of the third Symphony(the opening theme, and, indeed the whole of the first movement is, to me, unequalled, for sheer elan and joy of living, with again very catchy melodies). Ok the third is not as great as  the fourth but it would certainly lift the most despondent person's spirits on a bad day.

But the 4th Sympnony is in the league of a great piece by a mainly FIRSt-rate composer. Subjective opinion, of course(these subjective v. attempted objectivism-and i stress "attempted"- discussions are v. tedious and permeate these 'net classical music discussion forums

Steve

[Elgarian]

I am confused re this discussion on Parry. I find his slow movements sometimes disturbingly gloomy(especially that of Symphony 4; in fact the whole symphony is tragic-sounding, with one of the most moving tunes that i have ever heard that suddenly appears in the middle of the last movement. ok, this particular symphony is sometimes a bit a strenuous, in the way that Brahms' orchestral writing can be, but it is dark, memorable and deep).

Most of my comments above have focused on the 2nd symphony (which I don't think has a trace of gloom in it), and I would agree that if we were determined to find a 'dark' Parry symphony, then the 4th would be the one to point at. There is indeed a 'bigness', a seriousness, about the 4th - I sometimes find myself contemplating images of a great swelling sea when I listen to it. But even so, I find Parry's overall outlook so buoyant that optimism always seems to prevail - and indeed in your second paragraph you seem to say this too.

First or second rate? I suppose those terms are unnecessarily patronising, and also too imprecise: they mean different things to different people. I think in hindsight I'd prefer not to have used those terms earlier. I'd prefer to say that Parry's symphonies are surprisingly rewarding, considering their virtual exclusion from performance these days. Most people are unaware that he even wrote any symphonies, which seems absurd. And as I've said before somewhere, when we listen to Parry's symphonies, we realise that Elgar's 1st symphony did not come like lightning from a clear sky, after all, and may not have been the first great English symphony, as is usually maintained.

[Lethevich]

I bow to Elgarian's advocacy of Parry. I had always greatly enjoyed his choral music but found the symphonies utterly pointless. On this current listen, I don't know why I ever thought that - was I expecting Tchaikovsky or something?

I am finally beginning to notice the subtle dance-like quality infused into every movement of the third symphony. It's not really Mendelssohn-redux, although he obviously remains a major model for the conservative brand of late Romantics. His touch is lighter, and for some reason I get occasional feelings that the music's roots goes back actually much further than Mendelssohn - to the classical minuet and the baroque's variety of elegant concertised dance movements.

It's really nice stuff, and perhaps it was Parry's restraint that made me initially unaware of those wonderful qualities of movement in the music. I feel that having now listened to a lot of mediocre 19th century music, Parry's splendid orchestration and instrumental diversity speaks for itself. It's a bit timid, but anything but mediocre.

[vandermolen]

A friend bought me symphonies 3 and 4. He especially raved over Symphony No 4, but so far I haven't been able to get into it - but I shall keep trying. For me it's Symphony No 5 and the Symphonic Variations which are the high points of Parry's orchestral achievements.

[Lethevich]

I listened to the fourth on the same disc as the third, but in its seriousness it drew unfavourable comparisons with Brahms. Still, it's good stuff.

I will listen to the fifth later - I didn't really get an impression from the piece last listen because I was too distracted by the weird movement titles (which I still don't really "get" - I suppose I should read the booklet notes ).

[vandermolen]

I listened to the fourth on the same disc as the third, but in its seriousness it drew unfavourable comparisons with Brahms. Still, it's good stuff.

I will listen to the fifth later - I didn't really get an impression from the piece last listen because I was too distracted by the weird movement titles (which I still don't really "get" - I suppose I should read the booklet notes ).

I don't think that the titles add much to the piece, although they suggest that the symphonyy is in some way illustrative of life's journey with its hopes and sorrows.

[Sergeant Rock]

I've had the Chandos box of symphonies for three or four years but never listened to it properly (with undivided attention). Reading this thread this morning has inspired some serious listening. I'm starting with Fourth (that it's in E minor is the immediate draw). The first movement was what I expected: looking back towards Schumann, looking forward to Elgar, with Brahms always in the picture. I quite liked it although I wish he'd had the courage of that E minor start and ended the movement on a tragic note (like the Brahms E minor). That's apparently not Parry, though, so I'll just have to accept, begrudgingly, the wistful ending. (Just kidding: it was a beautiful, and very individual way to end the movement.)  The slow movement was interesting. I don't detect any obvious infuence. (well, maybe Brahms in the main tune). This is the true voice of Parry? Enough talk. Back to the music.

Sarge

[Lethevich]

Does anybody rate his piano concerto particularly highly?

[Elgarian]

Does anybody rate his piano concerto particularly highly?

Well, now you've posted this, I realise that there is one! Thank you!