The revival of tonality has brought out of the woodwork a great many tonal orchestral works from the middle of the twentieth century. Britain had no shortage of these, and their composers each have their partisans. One of Richard Arnell's is conductor Martin Yates, who has committed a number of them to disc with the Royal Scottish National Orchestra, which, it must be said, delivers fine, assertive performances. Arnell fell somewhat out of favor after 1950, and the weak points in his music may be inferred from the fact that ...
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The revival of tonality has brought out of the woodwork a great many tonal orchestral works from the middle of the twentieth century. Britain had no shortage of these, and their composers each have their partisans. One of Richard Arnell's is conductor Martin Yates, who has committed a number of them to disc with the Royal Scottish National Orchestra, which, it must be said, delivers fine, assertive performances. Arnell fell somewhat out of favor after 1950, and the weak points in his music may be inferred from the fact that John Barbirolli demanded cuts in one of his symphonies (not one of those performed here). But he kept composing prolifically, and the Symphony No. 6, "The Anvil," heard here dates from as late as 1994. It takes its name from a bona fide anvil that is sounded at the beginning of the introductory movement. Arnell continues to use a tonal idiom, but the work's textures, making varied use of a piano, are unusual, and the piece is refreshingly unusual in style. The point of its literary...
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