Ernest Moeran’s Symphony in G minor must be counted one of the finest English works in the form. It easily stands comparison to the best of Vaughan Williams, Walton, Elgar, or Bax, and yet it remains a rarity in concert and on disc. Perhaps this is because of its tragic finale, or possibly due to its obvious debt to Sibelius (particularly the slow movement’s central section, the opening of the scherzo, and most of the finale–which often sounds like Tapiola played sideways). This new recording comes into direct competition with Chandos’ recent mid-price reissue of Vernon Handley’s Ulster Orchestra rendition, and while this one is very good, Handley’s remains the one to have if one is all you need.
The differences between the two versions are clear: Handley is a bit more deliberate, bigger and more epic in scope. Lloyd-Jones’ swifter tempos make for a hugely exciting first-movement development section, but the rapid string figurations tend to sound scrambled, and Handley prepares the climaxes and such important moments as the arrival of the recapitulation more impressively. But the real problem with Lloyd-Jones’ excessive speed has to do with the fact that it tends to compromise the work’s dynamic range. The Bournemouth strings, for example, miss the big crescendo from forte to triple-forte in the first movement’s closing pages. In the finale, the terrifying passage capped by the work’s single fortissimo tam-tam crash (here played mezzo-piano) has little impact, and rhythmic details in the brass and wind parts tend to get smudged in the race to the finish line, though the actual quality of the playing in all departments is quite good.
The comparatively distant (though very clear) Naxos recording also limits the music’s impact, robbing pianissimos of presence and making the Bournemouth strings sound anemic in loud passages while exaggerating such isolated noises as loud snare drum riffs. None of these points would matter in what is otherwise a clean, correct view of the work were it not for the fact that for a couple of extra dollars you can have a better recording and interpretation. Perhaps the couplings will determine your choice, for here Naxos definitely has the edge. The Sinfonietta is a delightful piece in which two bustling outer movements enclose a colorful theme and variations centerpiece. It’s a more substantial work than Chandos’ filler, the Rhapsody for piano and orchestra, and certainly the more logical coupling. If you purchase this disc you certainly won’t be disappointed, but if you want the best performance of the symphony, go with Chandos.
