English, Scottish, Cornish, Irish, and Welsh Dances, by Sir Malcolm Arnold performed by the Queensland Symphony Orchestra, Andrew Penny, conductor. Available on Naxos (8.553526) $5.99.
Sadly, in today’s world of snap judgements and convenient catagorizations, an artist, actor, or even a composer can, through no fault of his own, find himself relegated to one particular artistic genre. Such has been the case with English composer Malcolm Arnold. With those who may have dismissed his work of as mere film music, however, I must take issue and urge you to reconsider. In order to assist you in your re-evaluation, I encourage you to pick up a copy of the recently released Naxos compact disc of his ENGLISH, SCOTTISH, CORNISH, IRISH, AND WELSH DANCES.
Although Arnold has spent the bulk of his career composing film music (he has composed over 80 film scores, including the Oscar-winning score to the 1957 film, Bridge Over the River Kwai), he began his career not as a composer, but as an instrumentalist. His talent won him a scholarship to the Royal College of Music where he studied both trumpet with Ernest Hall and composition with Gordon Jacob. Between 1942 and 1948, he played with several world-class symphonies, including the London Philharmonic and the BBC Symphony. It was in these formative years that Arnold was most influenced by the orchestral repertoire that surrounded him, in particular the music of Gustav Mahler.
In this collection of folk dances, composed over thirty years, one can hear the influence of his years in symphonic brass sections. Each of the sets of dances consists of four pieces and, when listened to in sequence, gives the listener the sense that Arnold wasn’t just dabbling in this type of composition. Using the full range of the orchestra’s descriptive powers, the dances effectively capture the vivid sounds, colours, and flavours of the particular region Arnold describes.
My favourite set, the Scottish Dances, Op. 59, was composed in 1957. I listened to the opening Pesante movement again and again; I connected with its raucous horns and drums on a fundamental level. The traditional Scottish rhythmic snap makes it all the more enticing. The delightful Vivace that follows starts out with the kind of florid woodwind passages for which Arnold is known. Be sure to listen for the comical bassoon solo in this movement; its lazy drawl provides the perfect contrast to the preceding trilling woodwinds. The Allegretto features a movingly beautiful flute and harp solo and, later, the mournful tones of an oboe. The Con brio that closes the set recalls the strident tone of the opening movement and brings the piece to a decidedly jaunty close.
This collection of traditional dances could make a fine film soundtrack. The beauty of Arnold’s talent, however, lies in the fact that these dances do not necessarily have to serve as mere background. His compositions evoke vibrant and powerful images that stand on their own.
Leigh Ann Berry
