Marriner reissues on Eloquence

As can seen from my posts, I am a big fan of the Australian Eloquence label. Here is yet another issue which delivers rarities, this time from the recorded legacy of Neville Marriner. In this Music for Strings compilation, we get Marriner's Argo recordings of the Hindemith Five Pieces for String Orchestra and Prokofiev Visions Fugitives (arranged for strings by Rudolf Barshai). They were recorded in 1972/74 and sound gorgeous in Eloquence's remastering. This Eloquence issue was produced in 2007, but only just became widely available in the U.S. in 2014. It contains the first ever appearance on CD of the Hindemith. It, along with this Prokofiev, subsequently became available in a 2011, 10-disc Decca box set entitled: Marriner & the Academy 20th-Century Classics. That is an invaluable box set. However, much of its contents is readily available elsewhere on any number of compilations and collections reissued over the years, and will therefore involve much duplication for most collectors. Thus, this Eloquence disc becomes all the more treasurable for those not willing to buy the big box set.

There is good news and bad news regarding the remainder of this disc. The Good: I was pleased Eloquence did not duplicate Marriner's Bartok Divertimento for Strings, as it is available in other collections. Instead, we have the first CD release of Barshai's 1962 recording of it with the Moscow Chamber Orchestra. It is presented along with two Vivaldi Concerti Grossi, also making their CD debut. The Vivaldis are very nicely done, extremely well recorded, and are a valuable addition to this disc.

Now for the Bad: Barshai's Bartok is disappointing. The Moscow Chamber Orchestra sounds like it employs a very, very small number of strings players (maybe even as few as one desk each section). As the Bartok is a "concerto grosso" of sorts - scoring a group of soloists in contrast with the full, tutti section - it loses much effectiveness when the tutti ensemble sounds no larger than the solo group. In comparison, even Marriner's smallish Academy of St. Martin in the Fields string section sounds much larger in their 1969 recording, and thus, much more effectively communicates the contrast between soloists and tutti. Certainly, none can match Solti's stunningly spectacular 1991 recording, utilizing the entire Chicago string section. Even more detrimental to Barshai is his demand for the strings to play sans-vibrato throughout much of the piece, emphasizing their thin, cold, icy sound. This is actually somewhat effective in the Molto Adagio 2nd movement, giving it an eerie, other-worldly effect. But it does no favors for the outer movements. The first movement also suffers from a too-slow tempo (9:31, vs Marriner's 8:39 and Solti's 8:21).

While this is a valuable and enjoyable release for the Hindemith and Prokofiev, it is a great pity Eloquence didn't give us Marriner's original coupling for the Prokofiev: the very rare Walton Sonata for String Orchestra (based on his String Quartet), instead of Barshai's ineffective Bartok. The Walton is otherwise only available in Decca's 10-disc box set and would have been most welcome here. For that matter, go ahead and keep Barshai's Bartok and omit the Vivaldi concertos, as they don't really fit with this otherwise all-20th-century program. But I am happy with having what we get.
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The Eloquence 2-fer entitled: English Idylls, combines two individual Philips Digital Classics discs from 1994 and 1996. Disc 1 was entitled English Seasons, "A Year in Music", being named as the selections contained depict the seasons/months (e.g. "Enter Spring", "April", "Summer", "November Woods", etc.). Disc 2 was entitled English Idylls, from which this current set derives its name.

Disc 1 is one of the most glorious selections of music I've heard. It shows Marriner at his very best, with the Academy of St. Martin in the Fields playing its rapturous hearts out. It sounds as if the strings have been substantially reinforced to full symphony orchestra size for this recording. Beginning with a new recording of Delius's "On hearing the first Cuckoo in Spring" (not to be confused with Marriner's earlier, analog recording of it for Decca), we are submerged into English Impressionism and late Romanticism at its most luxurious. Marriner finds a refreshing sense of poetic flexibility and momentum, with plenty of light-and-shade illumination, bringing these works to life as never before. And the rich, sumptuous Philips recording ensures they posses every ounce of ecstasy and a rhapsodic singing line. I have never heard this orchestra sound this good.

Disc 2 is a collection of non-concerto pieces for cello and orchestra, most of them arrangements, where Marriner's Academy is joined by cellist Julian Lloyd Webber. For lovers of the cello, these small-scale arrangements for cello and chamber orchestra will likely please. It was too much of the same thing for my taste, however, becoming rather too saccharine after awhile. But taken in small quantities, it is pleasant enough.

But the glory of this set is certainly Disc 1, which has long been unavailable. As it is one of Marriner's very best recordings, it is cause for rejoicing to have it available again in this inexpensive 2-fer.