National Orchestra of Wales
Conducted by Warwick Braithwaite
Siegfried, the hero, having killed the dragon, and tasted the monster's blood, is able to understand the voices of nature. Resting under a tree, he listens to the murmur of the forest's life. He would imitate the birds' songs, and cuts himself a reed from which he fashions a pipe. Then his thoughts turn to his mother, who died when he was born, and the music clouds over for a moment, only to resume its sunny course with a new theme. The whole episode is one of the loveliest scenes even Wagner ever wrote.
In Elgar's early Serenade (his Op. 20) are three Movements, each of which has as title merely an Italian musical term.
First Movement. Quick, pleasantly. The Violas open this dainty piece with a little tripping rhythmic figure of six notes that frequently appears (in the last Movement as well as in the First).
The first main tune follows immediately-a minor key phrase that rises in one bar and falls in the next. The second main tune is in two parts. The first section, in the major key, is sung out aloft. This has an upward leap of seven notes, at the start. These two phrases also are heard in the last Movement of the Suite. The Movement is rounded off by the reintroduction of the first tune.
Second Movement. Slowish. This contains a tune (the only main one used) which is among Elgar's best. After a short prelude, the First Violins give it out. It has the soaring, confident freedom of spirit that we recognize as characteristic of the composer's finest melodies.
The music here is richly sonorous-a splendid example of the effect that can be obtained from stringed instruments alone. The opening preludial idea is used again, to conclude the Movement.
Third Movement. Moderately quick. A smoothly flowing tune, in a three-notes-to-a-beat time, is the basis of this graceful Movement. Near the end, the rhythmic figure that opened the Serenade is heard, and the second main tune of the First Movement has the last word in the work.
Annie Pimblott and Orchestra
Ye powers that dwell below ('Orpheus')...... Gluck
German here uses the word 'Diversions' because, we are told, the Theme is treated more freely in some of them than in the old style of 'Variations'.
The Theme (which is preceded by a forceful Introduction) is slow and solemn. Edward German comes from the Welsh border, and perhaps it is permissible to find a suggestion of Welsh hymn tune in this Theme. The Six Diversions are in the following styles:-
(1) Fairly quick, dignified; (2) Very quick and playful; (3) Quick and lively (A Gipsy Dance); (4) Slowish, but with movement; calmly. (The Muted Strings are here divided into ten parts.) (5) Quick, in valse style; (6) Slowish, with movement.
