CRITICAL ACCLAIM: ARNE: Overtures
John W. Barker, Opus (October 1986)
This recording affords welcome further evidence of the merit of Arne's symphonies and genuine satisfaction on its own terms...
The MHS Review 375 Vol. 10, No. 15 • 1986
Thomas Arne (1710-1778) was already established as one of the leading British composers who had gown up in the shadow, an during the declining years, of Handel when (eight years after the latter's death) he produced these symphonies. In them, he proclaimed his commitment to the new, post-baroque stylistic movement, venturing even beyond Boyce in expanding the old theatrical overture into a self-sufficient orchestral work that clearly anticipated the symphonic form of classic era.
In 1751, Arne had published his set of eight overtures, works that, adopting either the French ouverture, or the Italian sinfonia form of theatrical curtain-raiser, essentially looked back to the baroque twilight. In the four "new overtures or symphonies" of 1767, Arne benefited from such forward looking models as the symphonies of the Mannheim master Johann Stamitz, and the Italianate works of Johann Christian Bach, newly settled in London. In addition, the dark and urgent qualities in much of this music remind one even of the contemporaneous symphonies of Carl Philipp Emanuel Bach, though there is no evidence that Arne knew them.
Scored richly for pairs of flutes, oboes, and horns, with strings and continuo, these three-movements (fast-slow-fast) works reflect the Mannheim emphasis on thematic contrast and development. While they lack the individuality and imagination one finds in the best of C.P.E. or J.C. Bach, they are extremely fine, impressively combining craftsmanship with passion, and never fail to hold the interest.
Shepherd's recording is the second of the full set, its admirable predecessor featurlng the Bournemouth Sinfonietta under Kenneth Montgomery. Both show a like strength and buoyancy of playing, as well as considerable similarity in interpretation...This recording affords welcome further evidence of the merit of Arne's symphonies and genuine satisfaction on its own terms...
Thomas Arne (1710-1778) was already established as one of the leading British composers who had gown up in the shadow, an during the declining years, of Handel when (eight years after the latter's death) he produced these symphonies. In them, he proclaimed his commitment to the new, post-baroque stylistic movement, venturing even beyond Boyce in expanding the old theatrical overture into a self-sufficient orchestral work that clearly anticipated the symphonic form of classic era.
In 1751, Arne had published his set of eight overtures, works that, adopting either the French ouverture, or the Italian sinfonia form of theatrical curtain-raiser, essentially looked back to the baroque twilight. In the four "new overtures or symphonies" of 1767, Arne benefited from such forward looking models as the symphonies of the Mannheim master Johann Stamitz, and the Italianate works of Johann Christian Bach, newly settled in London. In addition, the dark and urgent qualities in much of this music remind one even of the contemporaneous symphonies of Carl Philipp Emanuel Bach, though there is no evidence that Arne knew them.
Scored richly for pairs of flutes, oboes, and horns, with strings and continuo, these three-movements (fast-slow-fast) works reflect the Mannheim emphasis on thematic contrast and development. While they lack the individuality and imagination one finds in the best of C.P.E. or J.C. Bach, they are extremely fine, impressively combining craftsmanship with passion, and never fail to hold the interest.
Shepherd's recording is the second of the full set, its admirable predecessor featurlng the Bournemouth Sinfonietta under Kenneth Montgomery. Both show a like strength and buoyancy of playing, as well as considerable similarity in interpretation...This recording affords welcome further evidence of the merit of Arne's symphonies and genuine satisfaction on its own terms...