Hidden treasures ~ Sir George Dyson ~ Violin Concerto (1941) ~ i. Molto moderato {Excerpt}

≈ History ≈
{adapted from articles available from
the Grove Dictionary & All Music Guide}
The story of George Dyson (1883-1964) shows us a person whose life seems to have been mainly spent in studying and teaching music rather than actually writing it. A swift and sure progress through academic ranks, made even more remarkable considering Dyson's working class beginnings, is immediately evident: open scholar at the RCM in 1900 - Mendelssohn Scholarship in 1904 (1) - Oxford MusDoc in 1918 - Professor at the RCM in 1921 - Professor at Wellington College in 1921 - Director of the RCM by 1938 - Knight by 1942. His influential "The New Music" was published in 1924. However, his actual musical output is rather small, seemingly the product of limited spare time. Ostensibly, Dyson's choral pieces are his most important works, among them the once popular "Canterbury Pilgrims" (1931), "St Paul's Voyage to Melita" (1933) and "Nebuchadnezzar" (1935). However, in this case we approach an orchestral work - his 1941 Violin Concerto, originally championed by the violinist Albert Sammons and premiered by the latter on February 16, 1942.
{(1): A stint in the army and work at the
Air Ministry occupied his World War I years}.
{ - | - | - }
≈ Music ≈
Even in light of Samuel Barber's relatively traditionalist musical values, Dyson's orchestral works are almost alarmingly Late Romantic in style, at times creating the impression that we are hearing a contemporary of Elgar. A quote from "The New Music" reveals this conservatism to be a natural part of Dyson's character: "I cannot find a logical definition of atonality" (2). The piece in question can, then, be seen as an heir to the great Romantic Violin Concerto with all the corresponding delights and faults. Dyson's problematic opening Molto moderato, highlighted in this upload, is a case in point. At 20 minutes - almost half of the Concerto - it is a sprawling prelude the central 12 minutes of which are occupied with the usual virtuoso rhapsodic flights of fancy without any clear motivation (3). This unexceptional main tableau is, however, framed by a prelude and a postlude - an elaborated reprise of the prelude - which, in spite of their slightly too direct musical language, are moments of disarming beauty. In this case, the postlude is presented. The first section features a traditional but strikingly evocative image suggesting a passing sea storm with literal wave-likes lines in the winds, the clarinets (0:10) and horns (0:18) forming a hushed dialogue over a faint murmur in the lower strings. The principal elaboration from the prelude is the inclusion of a series of glowing suspensions for the solo violin which originally made its appearance only in the second section. Its sustained high lines provide a gentle clarity amongst the overall gloom (0:18). Gradually, the orchestration is simplified and fades away (1:08-1:38). Ultimately, the violin recalls the first few notes of its entrance solo (1:43) and suddenly brings a full stop to the tempest (1:51), as we are left with a hushed, generously warm yet faintly impassioned violin theme over a simple bass line (1:52) - a seeming antithesis of the preceding symphonic moment. Both sections are bound to be compared to similarly conceived passages by other composers, yet this notion does not detract from the power of Dyson's musical achievement.
{(2): His choral works, including the celebrated but,
in my opinion, rather long-winded "Pilgrims",
adopt a less overtly rigid harmonic language}.
{(3): Seemingly, the kind of "failures in inspiration"
which Dyson deplores in "The New Music"}.
≈ Recording ≈
The 1995 Chandos recording with Lydia Mordkovitch (Solo Violin) and the City of London Sinfonia under Richard Hickox couples the Concerto with a delightful Children's Suite and is self-recommending by virtue of its high quality.
Hope you'll enjoy =).

[@johndyson4109]

I am proud to be a Dyson.. Freeman Dyson, James Dyson, Gerorge Dyson. all Knights of England. They all were called Sir..... I play the bass guitar, also double bass, tuba, baritone and slide trombone..

[@ThomasKGould]

Wonderful selection!

[@Teona1212]

Very beautiful !

[@papidou1934]

Musique celeste,inconnue ,a découvrir...

[@sirBrouwer]

I love it to bad that it is so schort with only 4 min