I read on the older forum that he is similar to Stanford and I like Stanford...but Chandos has the 3 disc set of the complete Parry Symphonies for a hefty retail price of $50, which is just as much as the Stanford which is 4 discs...I got the Stanford set fairly discounted, but the cheapest I see the Parry is around $40 at overstock.
Is it recommended? Or nothing special? Of course if Chandos were to reissue it at midprice or budget, that would be ideal....
TJ
The Chandos set is fine but maybe worth waiting until it is available at a cheaper price. I would not, however, be without Boult's Lyrita and EMI recordings of Parry's "Symphonic Variations" and Symphony 5 (EMI). I actually prefer the Parry Variations to those of Elgar. More concise,but just as moving in its understated way.
Quote from: Captain Haddock on May 19, 2007, 03:55:09 AM
The Chandos set is fine but maybe worth waiting until it is available at a cheaper price. I would not, however, be without Boult's Lyrita and EMI recordings of Parry's "Symphonic Variations" and Symphony 5 (EMI).
The "Symphonic Variations" may be Parry's orchestral masterpiece. It can hold its own against Brahms's Haydn Variations. The Boult CD mentioned is just great:
(http://www.lyrita.co.uk/covers/SRCD0220.jpg)
http://www.lyrita.co.uk/cgi-bin/lyrita_build.pl?filename=SRCD0220.txt
Thomas
Quotewould not, however, be without Boult's Lyrita and EMI recordings of Parry's "Symphonic Variations" and Symphony 5 (EMI).
Is the symphony out of print?
Anyways, I forgot to mention that I do have the following CD which has Bamert's recording of the Symphonic Variations:
(http://ec1.images-amazon.com/images/I/413SFT6YAYL._AA240_.jpg)
The Lyrita was recently reissued (£10 from MDT in UK)
The Bamert is good but the Boult is better.
I have this one, and think it good!
I have Symphony No. 5; Elegy for Brahms; From Death to Life from the complete Chandos set. I think the music is horribly boring, certainly nothing special. I haven't heard Stanford so I can't comment on whether Parry and Stanford are similar or not.
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
Quote from: sound67 on May 22, 2007, 01:01:18 AM
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
I love Brahms though.
In any case I much prefer other British composers like VW and Bax. Is the music of Parry pleasant, certainly, but I wouldn't drop a tear if I never get to know it though.
Parry doesn't come up often around here.
Listened to the Elegy for Brahms and Symphonic Variations on Bamert's odds and ends disc (shown above) and I'd say the music is well crafted but strikingly derivative of Brahms' style. There is the major/minor chiaroscuro, and certain traits of orchestration which really bear Brahms' imprint. But I do like the sound of it and am tempted to seek out at least some of the symphony recordings. Does Parry show originality in his proper symphonies?
Quote from: Scarpia on February 21, 2010, 10:09:36 PM
But I do like the sound of it and am tempted to seek out at least some of the symphony recordings. Does Parry show originality in his proper symphonies?
I don't think I know enough to comment on his
originality, except by observing that with Parry there's always some Brahms in the background. But even so, Parry does have a distinctive voice in his symphonies, and it's possible to listen to certain passages and think 'that's pure Parry'.
His second (Cambridge) symphony, while not profound, and perhaps a little sweet for some tastes, is actually one of my personal favourite symphonies - full of melody; and the slow movement (one of those 'pure Parry' episodes, has a yearning, romantic quality to it that I like very much, but which won't be everyone's cup of tea.
The third (English) and fourth symphonies are a distinct step forward, and there are passages in them that are so reminiscent of Elgar that one realises that the Elgar 'sound' didn't by any means just appear from nowhere. But the overall tone remains 'Parry', not 'proto-Elgar' (Brahms influence invariably not far away of course). The third and fourth symphonies are both substantial works, and shouldn't have been dismissed from the repertoire in the way they were, and are. I've never quite clicked with the 5th symphony myself, but perhaps I'll warm to it one of these days. The 'Symphonic Variations' (which someone mentioned earlier in this thread) are great fun of course, though I find I exhaust it quickly.
What? Parry is so great that he gets a one word Title? :o :P ::) ;D
What if I started a "Jones" thread?
Quote from: snyprrr on February 22, 2010, 08:20:53 AM
What if I started a "Jones" thread?
I'm afraid Jones's symphonies are very derivative of Smith's.
Quote from: Elgarian on February 22, 2010, 11:54:03 AM
I'm afraid Jones's symphonies are very derivative of Smith's.
Also Jo(hn) Blow.
Listened to Parry's "From Life to Death" (or is it the other way around?). A very nice piece. Built from interesting, recognizable themes, which are developed in an interesting way harmonically, and with some moments of true drama and depth. Based on the date of composition it is clear he was a bit old-fashioned in his day, but wrote with skill and feeling. I'd say he is a first-rate second-rate composer. I have his symphony set on order now and have no regrets, after listening to this piece.
Quote from: Scarpia on February 27, 2010, 03:14:04 PM
I'd say he is a first-rate second-rate composer.
That's a pretty fair description, I'd say. (He was also, by all accounts, a very nice chap.)
All in all, there are much worse things to be than a first-rate second-rate composer and a very nice chap. I'll have to listen to some Parry to make his acquaintance! ;D
Quote from: secondwind on February 27, 2010, 09:05:15 PM
All in all, there are much worse things to be than a first-rate second-rate composer and a very nice chap. I'll have to listen to some Parry to make his acquaintance! ;D
The Symphonic Variations are first rate IMHO.
Quote from: secondwind on February 27, 2010, 09:05:15 PM
All in all, there are much worse things to be than a first-rate second-rate composer and a very nice chap. I'll have to listen to some Parry to make his acquaintance! ;D
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 (http://www.amazon.com/Parry-Symphony-Cambridge-Symphonic-Variations/dp/B000000AMY/ref=sr_1_10?ie=UTF8&s=music&qid=1267374279&sr=1-10)
Quote from: Elgarian on February 28, 2010, 07:26:31 AM
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 (http://www.amazon.com/Parry-Symphony-Cambridge-Symphonic-Variations/dp/B000000AMY/ref=sr_1_10?ie=UTF8&s=music&qid=1267374279&sr=1-10)
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.
Quote from: vandermolen on February 28, 2010, 08:17:13 AM
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!
Quote from: Elgarian on February 28, 2010, 09:05:31 AM
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.
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.
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! :-\
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.
Quote from: Elgarian on February 28, 2010, 07:26:31 AM
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 (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. :)
Quote from: secondwind on March 01, 2010, 05:34:58 PM
(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.
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!
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. . . :)
Quote from: secondwind on March 05, 2010, 06:39:51 PM
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 (http://www.amazon.com/Parry-Symphony-Nos-3-4/dp/B000000ALR/ref=sr_1_3?ie=UTF8&s=music&qid=1267865901&sr=1-3)
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. . .
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
Quote from: stevenski on April 01, 2010, 04:14:51 PM
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.
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.
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.
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 :P).
Quote from: Lethe on June 21, 2010, 02:53:42 AM
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 :P).
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.
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
Does anybody rate his piano concerto particularly highly?
Quote from: Lethe on September 10, 2010, 10:19:07 AM
Does anybody rate his piano concerto particularly highly?
Well, now you've posted this, I realise that there
is one! Thank you!
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.
Quote from: sound67 on May 22, 2007, 01:01:18 AM
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.
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.
Quote from: Lethe on September 10, 2010, 11:29:00 AM
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:
(http://ecx.images-amazon.com/images/I/21367M65THL._SL160_AA115_.jpg)
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'.
That has to be divine intervention - perhaps from St Cecilia ;)
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 (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 (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 (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).
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
(https://s2.postimg.org/xxp4l20cp/SHP.jpg)
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 . . .
"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.
https://www.youtube.com/watch?v=78vBNjDFU_U
[asin]B000027QW7[/asin]
Quote from: Scion7 on July 29, 2017, 02:30:44 PM
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.
Of course, Boult was one of the 'greats' - Bamert is good, but - let's be serious!
(https://s2.postimg.org/q142utma1/LP-back_Cover.jpg)
^ click image - if you dare
[asin]B000058UUY[/asin]
[asin]B000025ZSQ[/asin]
[asin]B000003XCQ[/asin]
[asin]B000JLPNO8[/asin]
[asin]B00925T94C[/asin]
[asin]B001PLORFM[/asin]
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.
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.
I've been listening to his symphonies on YouTube and love the 5th. Gotta get a recording of that and listen on!
Quote from: Robert101 on July 31, 2017, 03:36:23 PM
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?
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!! ??? ::) :( >:( ;D
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.
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! ;D
Quote from: cilgwyn on May 25, 2018, 03:27:58 AM
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! ;D
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.
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!! ??? ::) ;D 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 :-\ ;D!
Quote from: vandermolen on May 25, 2018, 05:17:34 AM
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.
To the bolded text: :o
Quote from: Mirror Image on May 25, 2018, 06:13:57 AM
To the bolded text: :o
The EV are the greater work but I enjoy the SV more.
:)
Quote from: cilgwyn on May 25, 2018, 06:12:03 AM
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!! ??? ::) ;D 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 :-\ ;D!
I don't know more than you cilgwyn. Yes, all those alternative versions and now there is a version of Copland's iconic Third Symphony with a different coda! I wouldn't bother with the Dan Godfrey version of A London Symphony as he excised sections which Vaughan Williams kept in in all versions. :o
Parry's First Symphony has a wonderfully proto-Elgarian first movement (the main theme has those characteristically Elgarian rising and falling sevenths), but I didn't find the rest of the movements to be as interesting. I had a similar experience with his Second Symphony, which has a very fine opening but eventually lost grip on my attention. I must check out the other symphonies, though...
Quote from: kyjo on May 25, 2018, 08:07:04 AM
Parry's First Symphony has a wonderfully proto-Elgarian first movement (the main theme has those characteristically Elgarian rising and falling sevenths), but I didn't find the rest of the movements to be as interesting. I had a similar experience with his Second Symphony, which has a very fine opening but eventually lost grip on my attention. I must check out the other symphonies, though...
4 and 5 and the Symphonic Variations are my favourites Kyle. I need to listen to 4 again. A friend gave me No 4 on Chandos as a birthday present some years ago.
I don't think the rest of No's 1 & 2 quite live up to their openings;but they've still got some fine,if Brahmsian,music in them,imho. I like his slow movements. The acid test for me is that I don't find myself twiddling my fingers and looking at the cd display at intervals and ending up turning them off before the end! I think No's 3-5 are the cream of the crop,for me,anyway! I like his shorter orchestral works,too. Chandos' compilation of these on a separate disc makes for an enjoyable listen.
Quote from: Elgarian on February 21, 2010, 11:56:00 PM
I don't think I know enough to comment on his originality, except by observing that with Parry there's always some Brahms in the background. But even so, Parry does have a distinctive voice in his symphonies, and it's possible to listen to certain passages and think 'that's pure Parry'.
His second (Cambridge) symphony, while not profound, and perhaps a little sweet for some tastes, is actually one of my personal favourite symphonies - full of melody; and the slow movement (one of those 'pure Parry' episodes, has a yearning, romantic quality to it that I like very much, but which won't be everyone's cup of tea.
The third (English) and fourth symphonies are a distinct step forward, and there are passages in them that are so reminiscent of Elgar that one realises that the Elgar 'sound' didn't by any means just appear from nowhere. But the overall tone remains 'Parry', not 'proto-Elgar' (Brahms influence invariably not far away of course). The third and fourth symphonies are both substantial works, and shouldn't have been dismissed from the repertoire in the way they were, and are. I've never quite clicked with the 5th symphony myself, but perhaps I'll warm to it one of these days. The 'Symphonic Variations' (which someone mentioned earlier in this thread) are great fun of course, though I find I exhaust it quickly.
I concur with the observation here on the slow movement of No 2. Yes,"a yearning,romantic quality"! I do like that. I'll have to listen to it again,now!! ::) ;D
It's all too easy to forget the impact of those Chandos sets of Parry symphonies,when they came out. I remember the Gramophone ads. I remember thinking;"Wow!" Stanford wrote seven?!! Only a few years before no one could have imagined that in only few years time a recording label would record the whole lot,with a fine orchestra and all the trimmings! I was one of the minority who actually preferred Parry's cycle to Stanford's. Although,I liked the third with the reels and jigs!! I actually disposed of the Stanford symphonies later on;partly because of lack of room. A charity shop got them! I kept the Parry cycle. I remember giving the cd of Stanford's Seventh to my late mother. I remember playing it a few times and not being too impressed. Nice of me to give it to her!! ::) But hopefully,I just thought she might enjoy it?!! I recently played that cd and really enjoyed it. None of the music was particularly original,and obviously,even when it was written,it was a "throwback" to an earlier era;but what finely crafted music;and the old boy really knew how to orchestrate. I love the clarity of it. It has a cleansing effect. I enjoyed the "fill-up" items,too! I think I will end up re-buying some of them?! If I do,I don't think I'll bother with the first two,though?!
For me, Parry is a close second to Bax in terms of being the unsung English composer most thoroughly deserving of a central place in the Canon (of English music at least). His comparative neglect is perhaps even more puzzling than Bax, because the latter was the contemporary of Elgar and Vaughan Williams; yet most of Parry's work sits in the supposed 'Dark Age' of English music between Purcell and Elgar.
Yes, on one level, by the standards of late-19th century european art-music Parry is certainly not a revolutionary composer and is indeed a conservative one. I often find his music constrained by a timidness, perhaps a fear of being deemed gauche, that perhaps typifies a certain kind of Englsihness - ironically perhaps the same attitude that today contributes to Parry's neglect from people unwilling to see the virtues of someone so decidedly unfashionable.
What Parry certainly isn't is boring or derivative; like Stanford (whom to my mind, though certainly having his merits, is strictly inferior to Parry) he bridges the gap between Brahms and Elgar and should deservedly be considered a revolutionary *in its context*. He is the first great English symphonist and his music really should be regular feature of our concert halls.
Thanks for your insightful post, Figaro. I must confess that I find the majority of Parry's music to be rather formulaic and lacking in memorability - it's all very well-crafted and often quite energetic but just seems to be "going through the motions" to me. A recent listen to the 2nd Symphony confirmed this impression for me. Two exceptions to this rule I've encountered so far are the 3rd Symphony and Symphonic Variations which are very fine, robust works. I'm not familiar with most of his choral works. Unlike you, I generally much prefer Stanford, whose 3rd and 6th symphonies, Irish Rhapsodies, and various chamber works I find to be very engaging and melodious works. :)
Yes, interesting comment from Figaro. The best Parry disc that I know is Sir Adrian Boult's final ever recording featuring my two favourite works by Parry, the Symphonic Variations and the 5th Symphony. I think that Stanford and Parry were great teachers rather than great composers.
Besides some of his orchestral works, I've also enjoyed this release that contains his music for string quartet. They're not eart-shattering stuff, but quite charming and lovely the SQs are:
(https://is5-ssl.mzstatic.com/image/thumb/Music125/v4/65/01/38/650138c5-1941-0ffe-0c16-9abe2e39e9ac/643824049079.jpg/1200x1200bf-60.jpg)
Quote from: Albion on January 02, 2011, 02:52:55 AM
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
So, today I surveyed Hubert Parry's
orchestrated cantatas:
The Soul's Ransom,
The Lotos-Eaters, and
Invocation to Music; ones I hadn't heard before. I have crossed paths with his coronation anthems
Blest Pair of Sirens and
I Was Glad previously, and here I think Parry is ultimately more successful with brevity on his side. I have not explored his oratorios
Judith or
Job yet, though.
My initial reaction is, I found all of these to be a bit academic. It seems when writing for large-scale chorus and orchestra, Parry can't escape the looming traditions of
Bach and
Handel, and through them,
Mendelssohn, which makes his music sound a mite dusty. His texts are more flowery than meaningful (at least compared to VW, and maybe Holst), although his musical language is thoroughly Romantic, and so these works are never less than pleasant. They would certainly be good Victorian choral society works and the LPO climaxes are always super-charged.
Invocation to Music has a bit more character than the other two, and the subtitle
An Ode in Honour to Purcell is apt. This is one I will be happy to revisit again, although I think there is still only one recording.
As to the performance, the soloists were surprisingly a bit hit and miss, and I could have imagined a little more urgency from
Bamert, who seems to gild the lily a fair bit more than I would like.
I am going to try some others, and revisit these again, hopefully tomorrow.
(https://ia601508.us.archive.org/18/items/mbid-f05a0345-9b8f-4dd2-96be-482924397a65/mbid-f05a0345-9b8f-4dd2-96be-482924397a65-29799361584.jpg)
On a side note, I knew
Parry and
Stanford were contemporaneous, but I didn't realize
Elgar was right there with them. I always considered him to be a little more modern.
Quote from: vandermolen on June 14, 2021, 11:06:47 AM
Yes, interesting comment from Figaro. The best Parry disc that I know is Sir Adrian Boult's final ever recording featuring my two favourite works by Parry, the Symphonic Variations and the 5th Symphony. I think that Stanford and Parry were great teachers rather than great composers.
I own this recording as well and, honestly, Parry's 5th is the only work of his that I enjoy with any frequency. Give me Elgar any day over Parry.
Quote from: Mirror Image on July 06, 2021, 04:52:42 PM
I own this recording as well and, honestly, Parry's 5th is the only work of his that I enjoy with any frequency. Give me Elgar any day over Parry.
I like the 5th Symphony and the Symphonic Variations very much. A former colleague thought v highly of the 4th Symphony.
The September releases from Chandos include the premier commercial recording of Parry's "Prometheus Unbound" (Gloucester Three Choirs Festival, 1880). This is an important early work and Parry's first major choral score. William Vann is the conductor, having already made a fine recording of "Judith" (1888) for Chandos...
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiOTUxMTYwMy4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6MzAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0IjoianBlZyJ9LCJ0aW1lc3RhbXAiOjE2ODkzNDI4MTJ9)
https://www.prestomusic.com/classical/products/9511603--parry-scenes-from-shelleys-prometheus-unbound
In 1980 the work was revived under Vernon Handley, but was severely let down by the usual hamming of Brian Raynor Cook and a tenor who simply couldn't cope with the tessitura demanded by the role of Jupiter...
I realize I haven't had very kind things to say about Parry' music in the past, but recently I was prompted to revisit his 4th (Bamert) and 5th (Boult) symphonies, and I'm very glad I did:
(https://m.media-amazon.com/images/I/41ijjr+pF8L._SY355_.jpg) (https://m.media-amazon.com/images/I/61X7Z5SGHKL._SX300_SY300_QL70_FMwebp_.jpg)
One thing that struck me about these works is their true nobility of utterance - there's nothing "cheap" or trite here. The 4th Symphony from 1889 very much presages Elgar in a number of passages, as it was composed before any of Sir Edward's mature works. There's a real grandeur about this music as it sweeps along in large, unbroken paragraphs. And that slow movement - gorgeous! From over 20 years later, the 5th Symphony (Symphonic Fantasia 1912) doesn't sound too much more "modern" except for a few imaginatively orchestrated passages, but that's hardly a problem. It's a wonderfully "glowing" and rather personal work. The Symphonic Variations is a robust, vigorous, and concise work with some great horn writing (as do the other works), and the Elegy for Brahms is a wholly sincere tribute to a composer he greatly admired (it often sounds very much like Brahms, and wonderfully so!). The LPO under Boult give thoroughly committed and involving performances of the last three works; it's pity Boult didn't also record the 4th Symphony.
Do other members have any other particular favorite Parry works besides these?
Quote from: kyjo on July 24, 2023, 07:01:02 PMI realize I haven't had very kind things to say about Parry' music in the past, but recently I was prompted to revisit his 4th (Bamert) and 5th (Boult) symphonies, and I'm very glad I did:
(https://m.media-amazon.com/images/I/41ijjr+pF8L._SY355_.jpg) (https://m.media-amazon.com/images/I/61X7Z5SGHKL._SX300_SY300_QL70_FMwebp_.jpg)
One thing that struck me about these works is their true nobility of utterance - there's nothing "cheap" or trite here. The 4th Symphony from 1889 very much presages Elgar in a number of passages, as it was composed before any of Sir Edward's mature works. There's a real grandeur about this music as it sweeps along in large, unbroken paragraphs. And that slow movement - gorgeous! From over 20 years later, the 5th Symphony (Symphonic Fantasia 1912) doesn't sound too much more "modern" except for a few imaginatively orchestrated passages, but that's hardly a problem. It's a wonderfully "glowing" and rather personal work. The Symphonic Variations is a robust, vigorous, and concise work with some great horn writing (as do the other works), and the Elegy for Brahms is a wholly sincere tribute to a composer he greatly admired (it often sounds very much like Brahms, and wonderfully so!). The LPO under Boult give thoroughly committed and involving performances of the last three works; it's pity Boult didn't also record the 4th Symphony.
Do other members have any other particular favorite Parry works besides these?
Another spot-on post Kyjo! A bit like Mahler+Bruckner, Parry+Stanford are always lumped together but I have to say as a body of work I prefer Parry even though Stanford at his most inspired can be wonderful too. Personally I find that too often Stanford's fluent technique substitutes for genuine inspiration. But as you hint at in your post this is a quality that can be found in several/many of Parry's scores.
The Boult disc you mention was his very last studio recording - and a rather wonderfully valedictory one it is too. For many years before that EMI LP there was almost nothing for the record collector except for collector except for "Blest Pair of Sirens" and the ubiquitous "I Was Glad". I'm no royalist but I
do find the latter just wonderful. Especially in the large-scale recording such as this one;
(https://e.snmc.io/i/1200/s/5d90a3a1a85698c50d255a6e1ed6dbc9/3734562)
Actually that's a pretty wonderful disc all round. But the Parry from Phillip Ledger recorded in Kings College Chapel with a large and enthusiastic student choir plus extra brass from Kneller Hall and the New Philharmonia is genuinely awe-inspiring.
I fnd his late Songs of Farewell to be powerfully moving too. I enjoy all 5 symphonies although I think you are right that the later ones are the most individual/impressive. But for a 19th Century Symphony pre-Elgar I think No.2 "Cambridge" is as good as any (Albion will probably disagree!). I must admit I don't know his chamber music as well as perhaps I should and I'm not a great fan of his string orchestra works. Well-crafted but without the emotional range that he did find elsewhere.
The new Chandos recording of Parry's "Prometheus Unbound" is splendid - forget the 1980 Vernon Handley broadcast with the ghastly Brian Rayner Cook: this has all the voluptuousness that the work really demands rather than a dry BBC studio acoustic. The score has much more heart in it than "Judith". Plus, "Blest Pair of Sirens" actually bloody MOVES and is probably the best version that I've ever heard! I hope that William Vann gets to record more, especially "De Profundis", "A Song of Darkness and Light", "Ode to Music" and "The Pied Piper of Hamelin"...
I like this CD very much as it contains my favourite version of the Symphonic Variations. Vaughan Williams often said that Parry's 'Blest Pair of Sirens' was the greatest British choral work of the 19th Century. However, my own take on this is that VW had a certain resentment of Elgar (who had refused to take him on as a pupil). I have no real evidence for this but it rings true to me.