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Recent Reviews London premiere of Northern Ballet Theatre’s Three Musketeers/June 5-10 Following their successful 2007 UK Spring tour, including Edinburgh, Sheffield, Norwich, Manchester and Belfast, the Northern Ballet Theatre gave the London premiere of The Three Musketeers on 5 June at Sadlers Wells. Playing to enthusiastic audiences, the NBT gave a series of brilliant and spectacular performances of The Three Musketeers in their London season. Charlotte Kasner: Ballet.co Postings Pages -“The so-called ‘English style’ is usually reserved for Ashton and considered to embody a reserve and delicacy of execution. In all the current searching for a definition on Englishness in society, it can surely be seen to be embodied in aspects of culture, none more so than those so often drawn upon by Northern Ballet: English literature, English music and a robustness and excitement in the dancing that is only rarely glimpsed at Covent Garden these days. To read this review complete, please follow this link: Lisette Allen: UKTheatre Reviews - “This is the perfect opportunity for ballet virgins to overcome their fear that the form is elitist and po-faced”.
Sarah Frater: Evening Standard, 6 June 07 – “Swordfights to Knock your socks off”
String Quartets Nos 1 & 2; Phantasy (Vita Abundans) Maggini Quartet/ Naxos 8.557762BBC Music Magazine May 2007 – Martin CottonThe Phantasy, written when Arnold was 20, already shows his hallmarks; there’s an opening pizzicato with a cool, bluesy theme over the top, then a more passionate section which turns to melancholy and anger. Strangely, the slightly later First Quartet more readily recalls earlier models, particularly in its Bartokian opening movement and following Scherzo. It also shares with the later Bartock quartets an economy of means this is lean music with no wasted notes, and it’s strikingly performed, with concentration in the playing and detail in the recording. The Second Quartet is a darker work, written in 1975, the year that Arnold attempted suicide. As Richard Whitehouse’s note points out, it inhabits an emotional world similar to the earlier Seventh Symphony, with the same contrast between the anguished and the superficially sentimental. That’s neatly demonstrated in the first movement, where tension mounts until the music melts into the closing nostalgic melody. Again, the performance captures all the twists and turns of the composer’s embattled mind: through the Celtic dance in the Scherzo, and the desolate intertwining lines of the Andante, to the finale, whose desperate mood-swings are reinforced by the apparently happy ending. Strong stuff. Performance *****Sound ***** ANDREW MCGREGOR’S REISSUES: Source BBC.co.uk Andrew McGregor, presenter of BBC Radio 3 CD Review, looks at the comprehensive survey of Arnold’s orchestral works on Decca, originally intended for release as an 85th birthday tribute. The Malcolm Arnold Edition – Decca 476 5337 (5 discs)/ 4765343 (4 discs)/ 476 5348 (4 discs) Poignant timing: an Arnold Edition intended to celebrate the composer’s 85th birthday. But he didn’t quite make it to the party. So it becomes a memorial, and the Eleven Symphonies(Decca 476 5337, 5 CDs) become a musical autobiography. The First (1949) came before the English Dances and it’s full of startling emotional extremes, early indications of Arnold’s bipolarity and alcoholism. The Second has a sunnier disposition, spiced with humour, there’s the deeply personal Third, the vivid social commentary of the Fourth, the requiem for friends that’s the Fifth, the contrasting brevity of the unsettling Sixth, through to the violent despair of the Seventh, written in Dublin while Arnold’s demons were at their most destructive. Optimism and crushing hopelessness collide in the Eight (1978), and then there’s silence … until the Ninth Symphony (1986) a stark, often skeletally scored post-Mahlerian vision, powerfully expressive in a performance from Vernon Handley and the Bournemouth Symphony Orchestra. The Symphony for Brass Instruments is Arnold, and the Philip Jones Brass Ensemble, at their very finest, and the Symphony for Strings makes 11, in case you were wondering … Volume 2 offers 17 concertos (Decca 476 5343, 4 CDs) just over half of Arnold’s output, generous gifts for artists he admired and counted as friends. Most are from the Conifer series with Mark Stephenson: highlights are Michael Collins in the Clarinet Concertos, Richard Watkins in the Horn Concertos and (from Sony) Michala Petri in the Recorder Concertos Arnold wrote for her. There are two Decca recordings as well: the Guitar Concerto with Eduardo Fernandez, and the Harmonica Concerto with Tommy Reilly, neither eclipsing the dedicatees, but all inspired by Arnold’s melodic flair and brilliant wit. Humour laces the next box: Orchestra, Brass and Piano Music (Decca 476 5348, 4 CDs). There’s Arnold’s first recording from 1947, Beckus the Dandipratt conducted by Van Beinum, with the composer leading the LPO’s trumpet section. There’s Tam O’Shanter, plus the insanely funny contributions to the Hoffnung Music Festivals with hoovers and floor polishers and the extension for Saint-Saens’s Carnival of the Animals. The English Dances appear twice, in their orchestral and brass versions – and the Scottish Dances and the Cornish Dances join the Little Suites on the brass disc. On the last CD, Benjamin Frith plays Arnold’s complete solo piano music, mostly attractive miniatures, but with the tautly-argued Sonata and the more convoluted Variations on a Ukrainian Folksong taking pride of place. Arnold’s prodigious gifts for comedy and melody have led many misunderstandings over the 50 years, but listen to the Symphonies at least, and in this Arnold Edition you’ll find the essence of the man. Andrew McGregor – BBC Music Magazine – December 2006The Malcolm Arnold Edition – Decca CD 4765337; 4765343;4765348 : Classic FM Magazine – November 2006Magnificent Malcolm – Decca celebrates the composer’s 85th birthday with the superb Malcolm Arnold Edition Though you’ll have to look elsewhere (Chandos, for example) for Arnold’s many ballet and film scores, such an opportunity to acquire so many quintessential orchestral works is unlikely to present itself again. Hats off to Decca for returning these discs to the catalogue and presenting them with such aplomb … London Philharmonic Orchestra – LPO Live – LPO0013 (Recorded live at the Royal Festival Hall, London on September 24, 2004):Gramophone Magazine – Awards 2006 edition(Symphony No 6/Beckus the Dandipratt/The Inn of the Sixth Happiness Suite/Philharmonic Concerto/Flourish for a 21st birthday) He was famous for film music, too, and the suite from the score for the Inn of the Sixth Happiness shows his rich melodic flair in the gorgeous central “Romantic Interlude” while in the finale we meet the composer’s infectious exuberance in his witty interpolation of the folk song “This old man”. But when we turn to the Symphony and the Philharmonic Concerto we encounter a different musical personality. The orchestral palette is as imaginative and brilliant as ever but it expresses darkly personal, more introverted feelings. The Sixth Symphony written in Cornwall in 1967, is perhaps the most troubled of all the symphonies, the swirling opening woodwind against stabbing brass leading to a poignant melody, the central movement producing the powerful essence of a funeral march with a truly menacing climax, and the rondo finale, for all its surface exuberance, never quite shaking off the work’s disconsolate atmosphere. The Philharmonic Concerto, written in 1976 for the orchestra’s US tour in bicentenary year, celebrates the American War of Independence without glory but with an infinitely touching, elegiac central Andantino (beautifully played here) leading to an energetic “Chacony” finale, with a sense of hollow triumph (Arnold was a pacifist). One wonders what the Americans made of it at the time. These live performances are very committed, and Handley’s skill in sustaining atmosphere and holding elusive structures together is heard at its finest. Excellently balanced sound, too. - Ivan MarchClassic FM Magazine – November 2006 Beckus the Dandipratt; Symphony No 6; The Inn of the Sixth HappinessLPO/Vernon Handley Arnold started his career as principal trumpet of the LPO in the 1940s, before taking up composing full time in 1948. He made his name initially by writing a variety of film scores, and this album includes one of his most popular, The Inn of the Sixth Happiness. The rest of the CD offers an insight into the numerous aspects of the composer’s personality from the jocular Beckus the Dandipratt to his troubled Symphony No 6, written while he was in Cornwall. Vernon Handley has been a champion of Arnold’s music for many years and his dedication shows. - Nick BaileyThe Three Musketeers – Northern Ballet Theatre(The Daily Telegraph – Lindsey Winship – 27 September 2006) Alhambra Theatre – BradfordThe composer Sir Malcolm Arnold, who died last weekend, was famous for his commitment to writing tunes even when melody had gone out of vogue. In much the same way, choreographer David Nixon insists on creating family-friendly, full-length story ballets regardless of fashion. In both men’s work, accessibility and communication are key, so it is apt that Arnold’s music is Nixon’s partner for Northern Ballet Theatre’s latest production, The Three Musketeers. The first notes were actually written back in 1975 when Royal Ballet dancer David Drew suggested a ballet based on Dumas’ novel and called in Arnold to write the music. The project was shelved early on, but last year Drew put his idea to Nixon and the pair engaged Arnold’s biographer, Anthony Meredith, to compile a score of the composer’s original sketches, combined with extracts from other works. It is Arnold’s cinematic soundtrack that makes this ballet a sweeping drama rather than a wet costume romp, and the soaring themes, jazzy licks and folk inflections are played with relish by NBT’s orchestra. Arnold’s music has the effect of a big glass of pre-theatre wine: it swells the emotions and smooths off any rough edges, niggling details and petty cynicism. It’s perfect for a ballet that could be a confusing bundle of plot details if it weren’t for its winning way with swashbuckling fight scenes and romantic pas de deux. Wannabe musketeer D’Artagnan (Patrick Howell) leaps on to the scene with youthful, clean-cut confidence. With his curly-haired good looks and nifty sword skills, soloist Howell is the Orlando Bloom of this brigade. The flashy fight scenes give the male dancers plenty of opportunity for knockabout fun and some buoyant grand allegro. Howell also has his tender moments. His first pas de deux with Constance (the sweet Keiko Amemori) shows off Nixon’s ability to develop characters through dance. Beginning with simple tentative poses when the couple meet, it turns playful as they flirt, and effortlessly moves into long, flowing phrases when the chemistry really clicks into place. With NBT, there is never a dull moment. There’s passion and pace and plenty of comedy, plus good acting, particularly from Desire Samaai as Queen Anne, nonplussed by her vain husband but enraptured by the attentions of an English duke, and Victoria Sibson as Richelieu’s spy, Milayd Sibson makes her mark with sulky sultriness and sky-high developpes ,landing in a comic brawl with Constance that makes you think just how much damage a hard pointe shoe to the chin could really do. There are sumptuous visuals too, with the action punctuated by the three grand and glitzy masques. It’s all-round great entertainment and the audience laps it up. Sadly, Arnold didn’t have the chance to see the final ballet, but he surely would have approved. The Sunday Times – David Dougill – 1 October 2006Northern Ballet Theatre’s lavish new production, The Three Musketeers, which premiered last weekend at Bradford’s Alhambra and now goes on tour, is the belated consequence of a plan by David Drew of the Royal Ballet, 31 years ago, to stage the Dumas story for Covent Garden. Malcolm Arnold began to write the music. That was as far as it went. Now, David Nixon, NBT’s director-choreographer, who specializes in big, popular ballets with narrative appeal, has come up with the goods, on a revised scenario by Drew, with Arnold as the composer – the score being an effective arrangement (by John Longstaff) from Arnold’s symphonies and film scores, including fragments from the original project. Arnold died on the day of the premiere, but it’s good to report that his music – lively, tuneful, fast-paced or romantic – drives the action and fits the bill with great success. And it is delightful to recognise the English Dances – even though we are supposed to be in 17th-century France. As with all Nixon’s productions, The Three Musketeers is an attractive stage spectacle, with his own costume designs, handsome in colour and period detail, and versatile decors by Charles Cusik Smith that are individually striking and allow for a fluent flow from one scene to the next … The titular trio of Athos, Porthos and Aramis are vigorously and wittily danced by Jonathan Byrne Ollivier, David Paul Kierce and Hironao Takahashi. Kenneth Tindall is enjoyable as the ambiguous Louis XIII, who dances en travesty as a ballet fairy. The romantic interest is shared by Queen Anne – a heartfelt performance by Desire Samaai – in her liaison with the Duke of Buckingham (Christopher Hinton-Lewis) and our hero, D’Artagnan, danced by Patrick Howell with engaging panache, and his devoted Constance, the lovely Keiko Amemori. Nixon is generous with his love duets – well shaped, expressive with good climaxes. The Mail on Sunday **** – Rupert Christiansen – 22 October 2006 … by dint of its sheer energy and lavish spectacle, the Three Musketeers bubbles along. There’s a marvellously exuberant and tuneful score drawn from the music of Sir Malcolm Arnold (who sadly died aged 84 on the day of the premiere), backdrops by Charles Cusick Smith and costumes by David Nixon that would grace any West End stage. Some dazzling ball scenes and splendid duels contribute to the fun … There are some vivid solo performances: Patrick Howells make a puppyish D’Artagnan and Keiko Amemori is a sweetly simpering Constance; Victoria Sibson snarls like Bette Davis as Milday de Winter and Christopher Hinton-Lewis has plenty of presence as the Duke of Buckingham. …the effusive applause left one in no doubt The Three Musketeers had scored a palpable hit. The Return of Odysseus - world première recording (follow this link for details). Gramophone Review Commissioned by the Schools' Music Association, the 1976 cantata The Return of Odysseus comprises (and this does come as something of a surprise) Sir Malcolm Arnold's sole composition for chorus and orchestra. It's an approachable and lusty affair, whose pleasures are enhanced by Patric Dickinson's skilful and witty condensation of Homer's epic poem (the entire setting clocks in at well under half an hour). Although chronologically flanked by the Seventh and Eighth symphonies, the piece conveys little of their troubled demeanour; indeed the music radiates a healthy, unaffected vigour, and there's plenty of catchy, dramatic and touching inspiration along the way (it must have been a terrific 'sing' for the children's chorus who first performed it under Sir David Willcocks). Graham Taylor secures a lively, spirited account of this enjoyable discovery - Andrew Achenbach Review of performance of Quintet for Brass Op 73, 20th May 2006 at St Mary the Virgin, Oxford. Would that some other Oxford orchestras were as imaginative in their
programming. For its latest concert, the Oxford Sinfonia had the brilliant
idea of splitting itself into three sections - brass, wind, strings - then
finding music that challenged and exploited each of the three groups. The
choice of composers was imaginative too, with each being a master at writing
for the instruments concerned. Early in his career, Northampton born Sir
Malcolm Arnold captured the post of principal trumpet in the London
Philharmonic Orchestra - just the right credentials for the composer of a Classic FM magazine - June 2006 The Return of Odysseus City of Glasgow Chorus.Orchestra of Scottish Opera - conductor Graham Taylor I am amazed that this is the first recording of Arnold's Return of Odysseus, as it's highly listenable. It was composed in 1976, in Dublin, at a particularly turbulent time in his life, and is a masterly simplification of Homer's Odyssey ... Nick Bailey ***** The Culture Magazine, (CD OF THE MONTH), Thomas Hall Glasgow Herald, Michael Tumelty *****
Homage to the Queen Luke Jennings, The Observer, Sunday June 11 2006 "The evening closed with Homage to the Queen. In neo-Elizabethan spirit, this is divided, like a masque, into four sections, representing earth, water, fire and air. With much of the 1952 choreography lost, Monica Mason invited David Bintley, Michael Corder and Christopher Wheeldon (all ex-company dancers) to rechoreograph a section each. The result is set to a lush score by Malcolm Arnold .. David Bintley's Earth is a dreamily idyllic suite, glinting with sensual flecks of gold; Water, by Corder, ripples into long streams of turns; Wheeldon's Fire literally crackles and blazes; and, finally, Air (by Ashton) wafts the piece to its conclusion". Celine Tan, Ballet.co "All in all, it was an enjoyable evening. Glorious dancing, glorious music..." John Percival, The Stage, 6 June 2006 "This Homage to the Queen is not a revival of the ballet Frederick Ashton premiered on Coronation Day, 1953, but a new production celebrating Her Majesty’s 80th birthday and the Royal Ballet’s 75th.It contains one of Ashton’s four sections, the last, for the Queen of Air, together with sections by three new choreographers adopting Ashton’s original structure for the Queens of Earth, Waters and Fire and using the melodious, colourful score Malcolm Arnold wrote for him (Barry Wordsworth conducting). David Bintley, Michael Corder and Christopher Wheeldon are able and experienced dance-makers, all working well and imaginatively and there is less clash than we might expect. The ballet’s prime virtue always was displaying the company at strength and many dancers are featured, notable among them Federico Bonelli in his splendid solo as Earth’s consort and Steven McRae in his swift complex entries as Spirit of Fire..."
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