Arnold: Symphony 3 & 4

 

A mysteriously moving melody opens Malcolm Arnold's Symphony no. 3. Working oppositely is a rather sprightly, eye-twinkling second theme.

Essentially this first movement is a contrast of moods, although I think Arnold prefers gentle wanderings over any cheek.

Of course, Sir Malcolm's filmic harmonies are always engaging, ones which can ground a listener no matter what the composer chooses to move o'er top of it.

I so rarely posit 'What is the point?' when I listen to music, for at its very least, music exists for music's sake, and I am generally happy with such a take, if need be. However, this question was what came to mind during the endless chromatic meanderings and light dissonance of the second movement. I readily identified the rhythmic and thematic elements I was supposed to hook onto... and yet I didn't. That, and the movement just went on for far too long, with a continuation of a certain musical mysteriousness. Oh well... not everything can work for me.

A dandy of a clarinet lick opens the third movement. I appreciate the virtuosity Arnold requires of the entire ensemble, here most notably in the winds. The rhythmic bite of this one is a lot of fun too, contrasting with the drawn-out silky-string underlay.

I can safely say Symphony no. 3 is the symphony from Malcolm Arnold which has worked the least for me as a whole, and hopefully it will be the last. I have no problem with Vernon Handley's leading of the Royal Liverpool Philharmonic Orchestra, although I guess it would be interesting to do some recorded comparisons. However, I bet my problems lay more with the music than anything performance based.

The color of Arnold's Symphony no. 4 is greatly enhanced by the presence of a variety of percussion, including the pitched marimba, celesta, and harp. Bongos and toms, added to the typical timpani and bass drum, create a dense jungle adventure vibe in the first movement. This is easily contrasted with a breezy Lawrence Welk dance segment, furthered through simple imitation between winds and harp/celesta, and others later on. Some of the rhythmic orchestral hits remind me of Leonard Bernstein in West Side Story mode, a soundworld I will continue comparing within other areas of this symphony.

I wish Arnold's second-movement Scherzo was placed as the third movement, for the first-movement antics are still fresh in my mind at this point. At five minutes, though, this Vivace is a nice breather between the lengthy first and third movements. I will admit, there is a surprising moody heaviness here, even if such an atmosphere is never particularly consistent in Sir Malcolm's symphonies. In fact, a rhythmically off-kilter dance is a witty opportunity for the woodwind section to flaunt their soloistic abilities.

I like the more melodically-centered third-movement Andantino compared to the previous symphony. This one is lush and peaceful, and dare I say, the extended harmonies mixed with Arnold's orchestrations are as much Impressionistic as they are lightly jazzy. Perhaps at the time of my latest listening, I am more in the mood for populous leanings than anything particularly modernistic, with this listener needing more musical positivity rather than chromatic oppressiveness.

If these first four symphonies are any measure, Malcolm Arnold seems to enjoy making a splash in the final movement. This one is no different, here offering a contrapuntal setting unlike his others, eventually coming together in a splendidly uproarious fashion. When the brass and timpani really get going, I am once again reminded of Bernstein. Symphony no. 4 one ends similarly to Arnold's First Symphony, where a sardonically mocking march transitions into a slow, grand ending.

Works
Symphony 3, op. 63 (31.08)
Symphony 4, op. 71 (37.24)

Performers
Royal Liverpool Philharmonic Orchestra
Vernon Handley, conductor

Label: Conifer
Year: 1996; 2006
Total Timing: 68.44