Frank Bridge (1879-1941)
Orchestral Works Volume 3
Coronation March (1911)
Summer (1914)
Phantasm (1931)
There is a Willow Grows Aslant a Brook (1927)
Vignettes de danse (1938)
Sir Roger de Coverley (A Christmas Dance) (1922)
Howard Shelley (piano) 
BBC National Orchestra of Wales/Richard Hickox
rec. 2000/02, Brangwyn Hall, Swansea, UK
Presto CD
Chandos CHAN10112 [69]

Better-known as Britten’s teacher, Bridge is rarely represented in concerts these days.  The Sea, Enter Spring, Summer, the Cello Sonata and Oration for cello and orchestra are among the outstanding compositions which perhaps we ought to know, but here we have a few other pieces which are less familiar. The Coronation March is not particularly distinguished, giving little indication that Bridge was cut out for this genre, but the better-known Summer is evocative and individual.

The 24-minute Phantasm is the most substantial piece here, but I feel it is too episodic, too rambling for its own good. It’s certainly original and – again – individual, but if there was as much musical depth as rhetoric, it would be a stronger work. However, it is expertly written, in common with most of Bridge’s music, and Howard Shelley is a formidable advocate. Hickox was a dedicated conductor of neglected British music and these performances are consistently sensitive and enthusiastic.

There is a willow grows aslant a brook is an impressionist (Bridge even gave it the  sub-title “Impression”) and haunting evocation of Ophelia’s drowning.

Originating as piano pieces, the three Vignettes de danse were adapted by Bridge for theatre orchestra, to be included in a new Hawkes Concert Edition of light music. In the context of the strong tradition of British light music, these vignettes are engaging and charming, but they are not as memorable as the best examples in that tradition. Carmelita, the final vignette, is thoroughly Spanish. The final track is Sir Roger de Coverley (A Christmas Dance), Bridge’s delightful expansion of his string-quartet version.

The fine booklet notes by Paul Hindmarsh treat the pieces in a different sequence  from the playing order. Chandos have produced their customary high standard of recording, though the Brangwyn Hall, Swansea, is less than ideal in its reverberation.

Overall this CD of pieces comprising the third volume of Bridge’s music would not quite be the best one with which to begin one’s appreciation of his music. Also, I find the selection of pieces rather thrown together, but these are minor quibbles. For those with a special interest in this versatile and ever-professional composer, the CD will be essential.

Philip Borg-Wheeler

Previous review: Rob Barnett (December 2003)

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