“Oh God! If it be thus, and thou art not a madness and a mockery, I yet might be most happy…” So laments Lord Byron’s Manfred when confronted by the specter of Astarte.
Manfred is the quintessential Byronic hero, a Romantic superman who endures unimaginable sufferings and mysterious guilt in connection with the death of his beloved. He wanders the Alps, longing for extinction, and meets his fate defiantly, rejecting all authority, corporeal and supernatural.
Robert Schumann was intoxicated by Byron’s dramatic poem from the time he first encountered it at the age of 19 in 1829. In 1848, he began to compose music for it, concurrently with that for his “Scenes from Goethe’s ‘Faust.’” Wrote Schumann, “I have never before devoted myself to a composition with such love and such exertion of my powers as to ‘Manfred.’” The piece was given its first performance in Weimar in 1852, with Franz Liszt conducting.
This week on “The Lost Chord,” we’ll hear highlights from a recording made 102 years later by Sir Thomas Beecham.
When Beecham came to record Schumann’s incidental music in 1954, it was an act of total reimagination. Unquestionably the work, as written, contains much attractive music. However, if we’re to be completely frank, it can be a bit dramatically static at those times when the music falls silent in deference to florid monologue. Beecham recognized this and enlisted the help of Eugene Goossens and Julius Harrison to assist him in orchestrating a number of Schumann’s piano pieces to be used as underscore for some of the spoken dialogue. He also incorporated a couple of part-songs and even invented a ballet. Fear not! Beecham’s license is nowhere as extreme as that he would later take with Handel’s “Messiah.”
Beecham’s Byronic credentials are unimpeachable. Byron was among his favorite poets. Of course, he also happened to conduct one of the great recordings of “Harold in Italy” (after “Childe Harold’s Pilgrimage”), with the violist William Primrose. Furthermore, Beecham had been familiar with Schumann’s “Manfred” since at least 1918, when he led two performances of the complete incidental music at the age of 39. Some 36 years later, he decided to resurrect the work via a broadcast performance and then as a program at Royal Festival Hall.
I first encountered this remarkable recording in the 1980s, in the middle of the night, when it was broadcast over the late, lamented WFLN, for 48 years Philadelphia’s classical music station. Henry Varlack used to play it from time to time on his program, “Sleepers Awake.” Having not heard it for a while, I called in to his Friday night/Saturday morning listener request show, and he told me with regret that the record had become so worn that it was no longer suitable for airplay.
Imagine my excitement, then, when I learned in the mid-‘90s that it was being reissued on CD. I promptly special-ordered it from England, and it couldn’t get here fast enough. That was on the Beecham Collection label – alas now long out of print. It has since appeared and disappeared (like Astarte?) on Sony.
The recording features actors, chorus, and orchestra. Laidman Browne may be a bit long-in-the tooth for Byron’s anti-hero, but no one relishes “eeeeeeeeviiiiiiiiiiiiiiiiiiiiiiiiiilllllllll” quite like him.
I hope you’ll join me for “Byronic Beecham,” on “The Lost Chord,” now in syndication on KWAX, the radio station of the University of Oregon!
Remember, KWAX is on the West Coast, so there’s a three-hour difference for those of you listening in the East. Here are the respective air-times for all three of my recorded shows (with East Coast conversions in parentheses):
PICTURE PERFECT, the movie music show – Friday on KWAX at 5:00 PM PACIFIC TIME (8:00 PM EST)
SWEETNESS AND LIGHT, the light music program – ALL NEW! – Saturday on KWAX at 8:00 AM PACIFIC TIME (11:00 AM EST)
THE LOST CHORD, unusual and neglected rep – Saturday on KWAX at 4:00 PM PACIFIC TIME (7:00 PM EST)
Stream all three, at the times indicated, by following the link!
