Views And Reviews: Overture: Tam O'Shanter
...“By Malcolm Arnold” is a kite-mark for the highest quality, of both craftsmanship and invention....
The inimitable Paul Serotsky introduces us to the Overture: Tam O’Shanter by one of his favourite composers, Malcolm Arnold.
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Arnold (1921-2006) – Overture: Tam O'Shanter
Arnold's is a curious case. For his “sins”, one of our greatest composers has long been shunned by the musical establishment. Performances of his greatest works – the symphonies and concertos – are rare. His knighthood in 1993, which might have triggered some sort of renaissance, had no perceivable effect. Yet performances and broadcasts of his “pop pieces” seem to have continued utterly unabated. I suspect that, where the establishment is involved, this might be propaganda, an attempt to brainwash us into accepting Arnold as merely a populist composer. But in spite of the shameful total exclusion of his music from the 2001 Proms the propaganda is weakening, albeit only slightly, as witness the broadcasts of all nine symphonies on the BBC's Composer of the Week to celebrate his 80th. birthday.
Once convinced of the greatness of his major works, you run the risk of overlooking the greatness of his minor works. Beware! Arnold simply doesn't have it in him to apportion his talent relative to the import of the work in hand. Even a simple advertising jingle – and he did write one once, though it was never used! – receives maximum care and attention: “By Malcolm Arnold” is a kite-mark for the highest quality, of both craftsmanship and invention.
In this sense, Tam O'Shanter is not a remarkable piece, though by any normal standards it's a masterpiece. The recipe is simple: take L'Apprenti Sorcier, A Night on the Bald Mountain and the Dream of a Witches' Sabbath, mix with a large overdose of Robbie Burns' favourite malt, and Bob's your uncle! This should have been a prime candidate for Disney’s Fantasia II.
At the tender (and impressionable) age of fourteen Arnold had been riveted by Lockhart's book, “Life of Burns”. It was only a matter of time (20 years!) before Arnold's graphic talent, that helped him become one of the most prolific and successful of film composers, should be brought to bear on this lurid tale:
In the dead of night the drunken Tam, riding his mare somewhat unsteadily homewards, stumbles across a Sabbat. Having witnessed the most unspeakable horrors, he is discovered – and pursued by a host of witches and demons. Fleeing for his very life, he escapes by the skin of his teeth – but only because he crosses clear, running water (luckily, there's plenty of that in Scotland!). His mare is less fortunate: at the last moment she loses her tail to the claws of one of the pursuing horde.
Arnold has a field-day with the orchestration of this scenario, throwing in just about every device imaginable of bibulous comedy, chase scene, and hammy horror. Both the burbling bassoons' “scotch snap” at the beginning and the whole orchestra's “highland reel” in the middle can be taken two ways. It's easy to laugh at Tam's predicament, but as the pursuit hots up Arnold subtly alters the perspective: we start to feel the hapless sot's fearful panic, and it's disconcertingly real . . . but don't let me frighten you (it'll be a dark journey home) – just enjoy the music!
© Paul Serotsky
Footnote: Maybe his death on 23 September 2006 will at last stimulate some recognition? If so – and I choose my words carefully – better late than never.
