William Wordsworth: Orchestral Music, Volume Three
The music of William Wordsworth (1908–88) – a great-great-grandson of the poet’s brother Christopher – lies downstream from that of Vaughan Williams and Sibelius; like that of his contemporary Edmund Rubbra, Wordsworth’s music unfolds spontaneously, as a natural process. This third volume of his orchestral works brings two major scores in their first studio recordings. Wordsworth’s Cello Concerto is a work of symphonic proportions, blending angular rough-and-tumble with a sober lyricism in a style that sits somewhere between Shostakovich and Bloch. The Fifth Symphony has an even grander sense of scale, its radiant first movement and the introduction to the confident finale unfolding as calmly and unhurriedly as a change of season; the martial tone of the gruff scherzo, by contrast, is laced through by an impish sense of humour.
Florian Arnicans, cello (Tracks 1-3)
Liepāja Symphony Orchestra
John Gibbons, conductor
Listen To This Recording:
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Cello Concerto, Op. 73 (1963)
- I Allegretto
- II Nocturne: Lento
- III Allegro vivace
- I Andante maestoso
- II Allegro
- III Andante largamente – Allegro
Symphony No. 5 in A minor, Op. 68 (1957–60)
FIRST RECORDINGS
MusicWeb International :
‘As with the previous two discs in Toccata’s series, John Gibbons is a most persuasive, one might almost say, loyal, advocate for Wordsworth’s music. He is in full command of the Liepaja orchestra in his pursuit of the composer’s all-important rhythmic pulse and sense of orchestral detail. Most important, he communicates his sense of the importance of Wordsworth’s music. […] His performances are bound to make new admirers for the composer. By now, the Liepaja orchestra has Wordsworth’s music completely in their bloodstream and sound as if they have been playing it for decades. The woodwinds are always essential to the Wordsworth “sound”, both singly and in groups, and the Liepaja players acquit themselves well, as do the equally important xylophone and celesta players. It is fitting that the cello soloist on this disc is Florian Arnicans as his wife Arta Arnicane was the piano soloist on Vol. 2. He masters Wordsworth’s seriousness and occasional brittleness, but has a broad, rich tone when needed. I strongly hope Toccata is planning more entries in their Wordsworth series.’
—William Kreindler, MusicWeb International
Classical Lost and Found :
‘German-born-and-trained cellist Florian Arnicans delivers a technically superb yet highly sensitive account of the Concerto. He receives superb support from the Liepāja Symphony Orchestra under acclaimed British conductor John Gibbons, who are no strangers to these pages as they gave us the first two volumes of this composer’s orchestral works (see Toccata-0480 and 30 November 2019). Hopefully, they’ll soon dish up more of Wordsworth’s symphonies on Toccata.’
—Bob McQuiston, Classical Lost and Found
Arcana.Fm :
‘Does it all work?
Yes, in that both pieces find Wordsworth’s often elusive tonal language at its most searching. Florian Arnicans cannot have known the Cello Concerto before these sessions, but he captures its brooding understatement with undoubted assurance and thereby reinforces its claim to be the deepest and most substantial of this composer’s concertante works. The Fifth Symphony can be heard in a 1979 studio reading by Stewart Robson with the BBC Scottish Symphony (Lyrita), but Gibbons reveals more fully why it is likely the highlight of Wordsworth’s cycle.
Is it recommended?
Indeed. The playing of the Liepāja Symphony Orchestra is on a par with that of the previous two instalments in this series, and Paul Conway contributes his usual thorough booklet notes. Good to hear the fourth volume in this series, featuring the Seventh Symphony, is imminent.’
—William Wordsworth, Arcana.Fm
Fanfare :
‘The orchestral performance is well done, and the sound is borderline sensational. It is hard to imagine the two works being more effectively played. Recommended for anyone interested in new orchestral music.’
—Fanfare