Hubert Parry - Symphony No. 5; etc. (Matthias Bamert)

Information

Composer: Hubert Parry

1. Symphony No. 5 in B minor 'Symphonic Fantasia 1912': I. Stress: Slow - Allegro - Tempo I
2. Symphony No. 5 in B minor 'Symphonic Fantasia 1912': II. Love: Lento
3. Symphony No. 5 in B minor 'Symphonic Fantasia 1912': III. Play: Vivace
4. Symphony No. 5 in B minor 'Symphonic Fantasia 1912': IV. Now: Moderato
5. From Death to Life, symphonic poem: I. Via Mortis: Lento
6. From Death to Life, symphonic poem: II. Via Vite: Slow alla marcia
7. Elegy for Brahms in A minor

London Philharmonic Orchestra
Matthias Bamert, conductor

Date: 1991
Label: Chandos
https://www.chandos.net/products/catalogue/CHAN%208955

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Review

This is the second issue in the Chandos cycle of Parry's orchestral and choral works in which Matthias Bamert is conducting the London Philharmonic (Symphonies Nos. 3 and 4 were reviewed in January). It is splendid to hear this neglected music so sensitively and enthusiastically interpreted by a non-British conductor. Although two of the works on this disc—the Fifth Symphony and the Elegy for Brahms—have been previously recorded for EMI in 1978 by Boult with the same orchestra (11/87—nla), I have no hesitation in declaring that these are finer performances and interpretations. Boult loved Parry's music, but Bamert finds more passion and mystery in it. Sir Adrian seemed more concerned with its structure, trusting that the emotion would emerge of its own accord, as no doubt it would have done if he had been younger and fitter when he made his recording.

Bamert's treatment of the symphony is broader and particularly impressive in the slow movement, sub-titled ''Love'', in which allusions to Liszt and Tchaikovsky may surprise those who still hold a stereotyped view of Parry. The finale (''Now'') ends with a Lisztian transformation of the work's opening theme, but before that it is Elgar's example that the ear detects. Liszt is called to mind also in the two-part tone-poem From Death to Life, composed in 1914. The quality of the invention here is, in my opinion, less striking than in the symphony.

The Elegy for Brahms must be one of the finest tributes paid by one composer to another. Although it contains subtle quotations from Brahms's works (including the famous tune of the First Symphony's finale), it does not sound particularly Brahmsian. Bamert conducts it superbly and the orchestra plays all three works with thrilling conviction. Parry's cause is advanced by advocacy of this calibre.

-- Gramophone

More reviews:
https://www.amazon.co.uk/Symphony-Symphonic-Fantasia-Hubert-Parry/dp/B000000AMT
https://www.amazon.com/Symphony-Symphonic-Fantasia-Hubert-Parry/dp/B000000AMT

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Hubert Parry (27 February 1848 – 7 October 1918) was an English composer, teacher and historian of music. As a composer he is best known for compositions such as the choral song "Jerusalem" and the coronation anthem "I was glad". His orchestral works include five symphonies and a set of Symphonic Variations. In 1895 Parry succeeded George Grove as head of the Royal College of Music, remaining in the post for the rest of his life. Parry's influence on later composers, such as Edward Elgar, Ralph Vaughan Williams, Gustav Holst, Frank Bridge and John Ireland, is widely recognised.
https://en.wikipedia.org/wiki/Hubert_Parry

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Matthias Bamert (born July 5, 1942 in Ersigen, Canton of Bern) is a Swiss composer and conductor. Bamert studied music in Switzerland, in Darmstadt and in Paris, with Pierre Boulez and Karlheinz Stockhausen. He was principal oboist with the Salzburg Mozart Orchestra between 1965-1969, then switched to conducting. Bamert's conducting career began in North America as an apprentice to George Szell and later as Assistant Conductor to Leopold Stokowski, and Resident Conductor of the Cleveland Orchestra under Lorin Maazel. He made over 60 recordings, most of them for Chandos.

https://en.wikipedia.org/wiki/Matthias_Bamert

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