A Symphony "with a Difference" from a Mendelssohn Admirer
M. C. Passarella | Lawrenceville, GA | 11/10/2008
(4 out of 5 stars)
"Since he's a hardly a household name, a few introductory observations are necessary about William Sterndale Bennett. He came from a musical family and as a young man made quite a splash in Germany with his compositions for piano and orchestra and his concert overtures. He befriended Schumann and Mendelssohn, who were lavish in their praise of him. Sterndale Bennett returned the favor by modeling his music and its sound world on those of Mendelssohn. In fact, Schumann said of the younger composer that he sounded like Mendelssohn with a difference and implied that he was a lighter, gentler Mendelssohn. Maybe this seemed like praise to Schumann, but to music lovers in the era of Wagner, it would be the kiss of death. Since Mendelssohn's reputation declined in the second half of the 19th century, to be restored only in the late 20th century, it's not hard to imagine what would become of Sterndale Bennett's.
But there's a further strike against the composer in that when he returned to England in the 1840s he turned his attentions to teaching piano and composition, which left him little time for further creative work. So the Symphony in G Minor, written in 1864 and revised in 1867, fine work though it is on its own merits, is all the more remarkable. It reflects Sterndale Bennett's never-waning enthusiasm for Mendelssohn but shows that the Englishman had grown considerably as a composer since the days of his early successes. The first movement has some of the folkish melancholy of Mendelssohn's Scotch Symphony but with a certain restlessness that adds a dimension to the music. The short slow movement is little more than an introduction to the Minuetto third movement, which, again, supplies something in addition to mere Mendelssohnian scherzo lightness. In fact, it's a rather somber affair, returning to the mood of the first movement though with some wistful touches from the woodwinds. But the brief finale is the best movement, a dancing, energetic piece that is perfect capstone, blowing away the clouds that darkened the earlier movements. No, the symphony isn't a neglected masterwork. Still, it's a fine accomplishment and one well worth hearing.
The accompanying concert overtures aren't nearly as engaging as the symphony, though the Naiades successfully captures the watery milieu of its eponymous characters; it's a thoroughly pleasant work.
Nicholas Braithwaite takes Sterndale Bennett seriously and proves a highly creditable advocate, while both orchestras do him full justice as well. Interestingly, the New Philharmonia, which is heard only in the Naiades Overture, is recorded with a bit more openness, a touch more stereo spread, though the sound is very good throughout.
So if you enjoy the music of Mendelssohn and his circle--Niels Gade, Carl Reinecke, and the like--this is a recording you'll want to hear.
"
Track Listings (8) - Disc #1