Daniel Jones, Symphonies 2 & 11, BBC Welsh Symphony Orchestra, Bryden Thomson

Welsh Composer Daniel Jones (1912-1993) is best remembered for his 13 symphonies, which he defined as "dramatic structures with emotive intention."  He is represented on today's disc by an early and a late example of his work in the medium, Symphonies Nos. 2 & 11 (Lyrita SRCD 364). It is a respectable performance by the BBC Welsh Symphony Orchestra under Bryden Thomson. Judging from the catalog entries in the back of the CD booklet Thomson aims to cover the complete cycle. Since this one is marked ADD I suspect they all were recorded a while ago?

The sound quality is not quite audiophile level. What matters is that we get a faithful representation of what these symphonies are about.

Jones began composing early in life and in youth established a friendship with Dylan Thomas. The two collaborated on a number of poems. Jones ended up getting his BA and MA in English. His MA thesis was on Elizabethan poetry, and his ancillary exposure to the music of that period influenced his melodic conception, so says the liner notes. He studied composition and conducting (with Harry Farjeon and Sir Henry Wood) at the Royal Academy of Music. His recognition as a composer first came in 1950 with his "Symphonic Prologue." Thereafter he gained attention and amassed a sizable number of works in all genres as well as conducting.

Symphony No. 2 was completed in 1950 and is a longish, ambitious work clocking in at nearly 44 minutes. It has a modern edge to it but hearkens back in some ways to Neo-Romantic expression, more extroverted than some and edgier than Elgar. And there surely are brilliant moments and an attractively wayward individuality. 

Symphony No. 11 is shorter, more compact and shows an increasing originality and orchestrational flair.

He was no rabid modernist but neither would either symphony be mistaken for an earlier period work. He was of his time. And sure of his direction from the 1950 work as well as the later symphony from 1983.

Any musical Anglophile will be well served by this volume. It shows us a Daniel Jones who travelled a path of his own, emotive and drenched in Romantic symphonic tradition, yet speaking to his era. Well worth hearing.

Charles Villiers Stanford, Complete Works for Piano Solo, Vol. 2, Christopher Howell

On July 3, 2016 I favorably reviewed Volume One of the Complete Works for Piano of Charles Villiers Stanford. Today I cover Volume 2 (Sheva Collection 125), once again performed nicely by pianist Christopher Howell and filling up two CDs.

Stanford (1852-1924) is not as well remembered today as compared with his stature in England during his lifetime. He is perhaps best celebrated nowadays for his choral works. The music for piano shows a rather different aspect of his music. Like Chabrier in France, Stanford produced a body of piano music not really neo-Romantic, not exactly neo-Classical, not much dependent upon great flashy technical skill, but rather a kind of pure musicality that is by no means harmonically advanced but straightforward, no mere trifles by any standard. It is what you might call a combination of Salon and Pedagogic music, but none of it has a pretentious or highly sentimental outlook.

What you do hear is very English, some miniature stately pomp, lightheartedly tuneful ditties, and pastoral, rustic folksy-tinged works which no doubt Vaughan-Williams and Holst gained from as a prefiguration of what they more fully developed.

Like with the first volume there is an unexpectedly disarming quality to the whole. It does not pretend to a ponderous importance and by so doing brings nonetheless delightful piano music that neither seems quite dated nor does it fully transcend its era.

And in that way we intersect with some worthwhile music. Volume Two forms a perfectly enjoyable counterpart to the inaugural volume. I will return with my take on the final volume three in a little while. Meanwhile these are a bit of a surprise treat!