Christopher Rosevear:

>I notice no commentary from this admirable list on the desirability or
>otherwise of Malcolm Arnold's music, yet he is much recorded and has
>the great distinction of still being alive after 10 symphonies.
>
>Are his superimposed triads too much or too little?

Not recently, perhaps, but he has certainly received attention.  Had
it not been for a computer upgrade that went less smoothly than I would
have wished (don't they always?), I'd intended to mention his 80th on 21
October.

10 symphonies? I know 9 that are numbered, and a symphony for brass.  His
work list also includes a symphony for strings and a Toy Symphony, neither
of which I've heard.

Arnold is one of my favourite composers.  I love his orchestration,
sometimes outrageous, but always involving for the listener.  I'm attracted
to his wit and humour.  I like those edgy themes with their hints of
menace.  I listen carefully when, like Saint-Saens and George Lloyd, Arnold
introduces a theme that's just this side of corny, and triumphantly makes
it work.  I admire a composer who can write a wholly delightful parody of
the dreadful school song many of us sang and professed to hate, but had a
sneaking affection for it nonetheless:  this is for the films, The Belles
of St Trinian's and its sequels.  Most of all I admire and love his seventh
symphony - angry, violent, and, in its second movement, as bleak and
unsettling a piece of music as I know.  I don't know what a superimposed
triad is (could it be a British Rail station announcement?), but if Arnold
uses them, fine by me.

And a belated happy 80th!

Richard Pennycuick
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