The Lily of Killarney
Robert Plane, Clarinet,
Benjamin Frith, Piano
MPR 118
Much of the background of this CD is discussed in detail in Robert Plane’s excellent article on this release, which can be found in the latest edition of our magazine, Light & Lyrical. Given this, I won’t go into masses of detail here about the history of the works played.
As you will have gleaned if you've seen the longer article, the backbone of the disc is formed by three fantasias on operas from the British isles, which have been referred to as “The Englis Ring”, perhaps ironically, as two of the composers were Irish and the other of German heritage. The most generous of these fantasias (in timing terms) is that on Julius Benedict’s The Lily of Killarney, which was arranged by the LMS’ own Howard Rogerson. Those familiar with the famed overture to the opera will recognise one or two of the familiar themes here, but this fantasia runs to nearly double the playing time of the overture, the opera’s compelling melodies flowing from one to another with great ease. It is a winning arrangement of which any instrumentalist will be pleased to include in their repertoire, complete with a number of opportunities to show off their virtuosic prowess along the way! That said, one could also imagine Rogerson’s Fantasia being successfully arranged as an orchestral work as well and it is accredit to Plane and Frith as well that so much variety is captured in this lively performance. You’ll certainly be humming its final addictive melody for hours after you’ve listened to it!
The other two Fantasias are both arranged by Charles le Thierre. The opening fantasia on Balfe’s Bohemian Girl opens with a rousing fanfare, but soon relaxes into one of the opera’s most beautiful arias I Dreamt I Dwelt in Marble Halls. Overall, however, this is a lively work with plenty of activity for both clarinettist and pianist. Brief flashes of Maritana’s Spanish setting can be heard in the last of the three fantasias and Plane has also skilfully woven them into the solo clarinet cadenzas with considerable flair.
Several very varied shorter works also populate the disc, from Ernest Tomlinson’s haunting Canzonet to Elizabeth Machonchy’s rather more challenging Fantasia, showing the sheer variety in writing for the clarinet from UK composers. Of great charm as well are the Four Short Pieces by Howard Ferguson, each composed in a different mode, creating distinct characteristics of each movement. Dunhill's Phantasy Suite also comprises highly contrasted movements and, while the title may place it in the long history of British Phantasies, it is unusual to encounter one composed for clarinet and piano. The extremes of the clarinet’s register are deployed to great effect here, but we often find ourselves in the instrument’s mellow middle range, showcasing the expressiveness of the instrument in the hands of this skilled performer. Another stand out single work is that of Thomas Pitfield: Conversation Piece. It is pleasing to see in this, as with the opera fantasies, that there is a genuine conversation between the pianist and soloist making this a worthy addition to the collection of any chamber music enthusiast. DA
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