English composer William Alwyn once wrote "I believe with Turgenev that 'it is possible to be original without being eccentric.'" And that is, in a single phrase, the key to Alwyn's music. Best known for his five postwar symphonies, Alwyn's music is tonally and structurally conservative -- the harmonies go no further than Debussy and the forms go no further than Elgar's -- but with those harmonies and within those forms, Alwyn's music is wholly original, intimately personal, and entirely convincing. In these recordings of ...
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English composer William Alwyn once wrote "I believe with Turgenev that 'it is possible to be original without being eccentric.'" And that is, in a single phrase, the key to Alwyn's music. Best known for his five postwar symphonies, Alwyn's music is tonally and structurally conservative -- the harmonies go no further than Debussy and the forms go no further than Elgar's -- but with those harmonies and within those forms, Alwyn's music is wholly original, intimately personal, and entirely convincing. In these recordings of the First and Fourth symphonies with the London Philharmonic Orchestra led by the composer himself, Alwyn's music gets perhaps its best shot at greatness. The brilliance of his scoring, the effectiveness of his forms, and the immense earnestness of his themes are all argued with enormous passion. Alwyn, although clearly not a professional conductor, obviously knew his way around the podium, and the London Philharmonic, although clearly a highly professional orchestra, responds to the...
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