George Dyson (1883-1964) studied with Charles Villiers Stanford at the Royal College of Music and Dyson's own compositions tend to reflect the kind of romanticism of both Stanford and Perry or the era just before Elgar, Vaughan Williams, and William Walton. His music is always lyrical if a bit modest,or perhaps understated is a better word after all, leggiero means "lack of pomp or pretention or prolixity." In this, he resembles Frederick Delius. The works on this disc come from Dyson's later years 1949 to 1951 which were his most creative.
Sir Richard Rodney Bennett’s Gothic opera The Mines of Sulphur is reminiscent of suspense thrillers from Edgar Allan Poe to Alfred Hitchcock. Love, longing, and dark as well as light comedy abound in this macabre tale of greed and retribution set in a haunted manor house in the West of England. The title of the tale, taken from Shakespeare’s Othello, refers to the theme of gradual corruption.
This disc shows Rubbra (1901-86) becoming more mature on one hand (Symphony No. 2 of 1937), and on the other, returning to more experiments in tonality than most other composers of his generation (Symphony No. 6 of 1954). The disc starts off with Symphony No. 6, which is much more user-friendly. It's more tonal, more engaging in lyrical ideas; yet these ideas do not draw from folk-music sources. It only alludes to them obliquely, then moves on. Symphony No. 2 avoids folk-music sources altogether and is more of an experiment in polyphonic patterns. It's quite an intense work; it's also quite brilliant.
Josephs Legende (1912-14), die Partitur für Ballett von Richard Strauss, ist eines der reiferen Werke von Strauss, das selbst nach so langer Zeit bisher nur wenig Beachtung fand. Es wird nicht aufgeführt (möglicherweise wegen seines mysteriösen Themas) und nur selten aufgezeichnet. Der Katalog verzeichnet eine vollständige, inzwischen bereits vergriffene Interpretation, und eine Version der kürzeren Orchestersuite (1947), von der es bei Chandos 9506 eine ausgezeichnete Version gibt.