Vernon Handley and the Ulster Orchestra have now recorded four of Stanford's symphonies for Chandos. The Seventh was the last, composed in 1912 for the centenary of the Philharmonic Society.
It is becoming ever clearer that the linking of Parry and Stanford is as misleading as the linking of Mahler and Bruckner. There are similarities, yes, but the differences are what count. Stanford, it seems to me, had a lighter touch and was also closer to the world of opera in the sheer melodious lyricism of his music. There is more profundity in Parry, more charm in Stanford. This Seventh is a delightful essay in what one might call a romanticized classicism. Handley and the orchestra, aided by a typically clear and pleasing Chandos recording, make out a persuasive case for its civilized urbanity.
The Third Irish Rhapsody, for cello and orchestra, may possibly have had a private try-out in 1913, when it was composed; otherwise, this is its first performance. It makes use of three Irish melodies and its neglect seems unaccountable. Raphael Wallfisch, tireless champion of the British cello repertory, plays it with deep feeling. The Concert Piece for organ, brass, drums and strings, composed in 1921, had never been performed until this recording was made recently—eight publishers had rejected it. There is an epic, heroic quality in this fine and noble music, which is played with her customary flair by Gillian Weir. But, again, it is Stanford's craftsmanship that is paramount. The combination of organ and instruments is never an easy one. Here it sounds entirely natural. Of the three works on this fascinating disc, this remarkable piece is the most original.'