Cyril Scott: Symphony No. 3 "The Muses"; Piano Concerto No. 2; Neptune
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Edition: Music CDCD Release Date: 2004-05-25
Music Label: Chandos
Soundtracks:
- I Melpomene: Muse Of Epic Petry And Tragedy. Andante Sostenuto-Molto Maestos-Tempo Tranquillo-Molto Maestoso-Tranquillo-Andante
- II Thalia:Muse Of Comedy And Merry Verse. Allegro Con Spirito
- III Erato: Muse Of Love And Poetry. Molto Tranquillo-Adagio Con Gran Espressione
- IV Terpsichore: Muse Of Dance And Song. Molto Moderato E Ritmico
- I Con Moto-Meno Mosso- Vigoroso-Tempo I-Andante Non Troppo-Mobilemente Tranquillo-Maestoso
- II Tranquillo Pastoral - Adagio- Tempo I Quasi Tempo II-Poco Plu Mosso
- III Energico- Grazioso-Moderato-Tempo I
- Andante-Molto Maestoso
- Con Moto-Largo-
- Tempo Di Valse-Molto Cantabile-Wistfully-Molto Cantabile E Sonoro-Plu Tranquillo- Doppio Movimento-
- Allegro Agitato
- Adagio Molto-Tristamente- Molto Idealmente-Tranquillo Poco A Poco
Music reviews of Cyril Scott: Symphony No. 3 "The Muses"; Piano Concerto No. 2; Neptune
Music Review: Very good performances of marvelously lush but slightly indigestible music
Rating: 4 Stars
Cyril Scott is one of many British composers who have undergone a revival the last decade, not the least due to Chandos's efforts. His music certainly has a distinctive sound, heavily chromatic and perfumed and strongly influenced by impressionism - if you imagine a mixture of Debussy, Ravel and Bax you get somewhere in the vicinity (add traces of Sorabji and early Szymanowski as well, and you get even closer). It relies heavily on texture; lush, lavish and full of glissandi, though it is relatively shorter on melody. It is also short on drama, and the compositional range is rather limited, so while the music is often gorgeous, it is also a little overwhelming, static, formless and unvaried. In that sense, it is perhaps not for everyone, but I recommend everyone with a penchant for impressionism and post-impressionism to give it a try.
The third symphony is perhaps the most extreme - but also most convincing - example. Written in 1937, the scoring includes organ, wordless chorus and a wind machine. I suppose some critics would with some justification write it off as a formless blob, but it is actually pretty stirring stuff, rising to rather tremendous power in the final movement. It is hard, however, to discern a clear structure and the themes (or thematic fragment) runs into each other like fleeting images (or perhaps more aptly, masses of colors flowing together like a river). Ravishing music, in other words, but a little indigestible.
The second piano concerto is later (1958) is an interesting contrast. The orchestral parts are as lush and perfumed as in the symphony, but the solo part is rather spikier and tougher. At twenty minutes the score is relatively concentrated, and - in part because of the excellence of the performances, especially Howard Shelley's thoroughly convincing handling of the solo part - it works pretty well; not light fare, to be sure, but less massive and formally elusive than the symphony. The symphonic poem Neptune (1935), describing the sinking of the Titanic, sounds more like the symphony in terms of sound, but the narrative element gives it a sense of forward momentum (though once you are aware of the narrative, it starts sounding a little pretentiously banal as well). The performances are generally excellent throughout, although the performers' unfamiliarity with the idiom sometimes shine through. The sound is superb, and this disc can certainly be recommended with some confidence if the music sounds like it would appeal.
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